Vous êtes sur la page 1sur 160

Exclusive Contributing Photographer: Chris Schmidt | United Kingdom | Image: 3188595

XSmall

350 KB
300 x 400

Small

1.4 MB
600 x 800

Spot the hidden


iStock logo and win.
Visit www.istockphoto.com/hunt
for a chance to receive 5 free credits.

Medium

5.5 MB
1200 x 1600

Large

14.1 MB
1920 x 2560

XLarge

XXLarge

10

33.6 MB
2800 x 4200

46.3 MB
3300 x 4900

15

Photography. Illustration. Video.


Affordable royalty-free stock.

Contents
June 2007

www.photoshopuser.com

Features

Columns
18

Down & Dirty Tricks


Add dimension with hard outlines, give your text that
metallic look, and add a dramatic, gritty effect to your
images...all in this issue.Scott Kelby and Felix Nelson

39

Photoshop Mastery
Capturing beautiful, sweeping lights at night can prove
to be a challenge. Ben shows us a way to continue
shooting after the sun goes down.Ben Willmore

44

Photoshop Speed Clinic


If youre a novice to the Actions paletteor even a relative expertread this tutorial on creating a skin-softening action to get in on the act.Matt Kloskowski

48

The Fine Art of Printing


Read about the ins and outs of resolution, the differences between dpi and ppi, and variations in inkjet
printing systems.John Paul Caponigro

50

Creative Point of View


High Dynamic Range (HDR) photography allows you to
break convention and keep shooting regardless of the
harsh lighting conditions.Katrin Eismann

32

Metamorphosis: In Search of the


Transformed Image
Metamorphosis. The very word itself is magical and
mysterious. And the process it refers to is equally
mystifying and enchanting. Follow Sen on a creative
journey as he teaches you how to listen to your images
and shows you how to look for what they wish to
become.Sen Duggan

52

Deke gives us an overview of Adobe Bridge CS3 that


includes setting up your workspace and exploring the
Preview panels new options.Deke McClelland

54
41

Photoshop World Boston

Photoshop for Educators


Dreamweaver CS3 is now part of the Adobe family.
Read about how Photoshop integrates seemlessly into
this website-design software.Jan Kabili

For the first time since its inception, the Photoshop World
Conference & Expo was sold out! If you missed the fun,
read Bruce Bicknells report from the event, followed by
two pages of works by the Guru Award winners.

56
But WaitTheres More: Wherever you see the
symbol at the end of an article, it means theres additional
material for NAPP members at www.photoshopuser.com.

Deke Space

Beginners Workshop
Still not shooting in RAW format? Well, now you have
access to the power of Adobe Camera Raw 4 even if you
shoot in JPEG or TIFF.Dave Cross

Columns
60

62

Digital Camera Workshop

About Photoshop User Magazine

Ever wondered who is managing your images at the end


of the job? Have you asked? Here youll find vital information on what to ask and when to ask it.Jim DiVitale

From the Editor

The WOW! Factor


Learn to enhance the focal point and drama of your
image after reading this tutorial on using the Lighting
Effects palette.Linnea Dayton and Cristen Gillespie

64

Production Clinic
Taz tackles Photoshop CS3s new version of the Curves
dialog. Get up to speed with highlights, shadow points,
and tonal-range adjustments.Taz Tally

66

Departments

Mastering Photoshop with Video

12

Contributing Writers

14

Photoshop News

15

NAPP Member News

74

From the Help Desk

82

Photoshop Book Reviews

84

Photoshop Q&A

Wondering why your video exports look squished? Read


Glens article to learn more about nonsquare pixels and
working with Pixel Aspect Ratios.Glen Stephens

68

Digital Photographers Notebook


Black-and-white photos holds a special place all their own;
the new Black & White conversion in Photoshop CS3 makes
them easier to create.Kevin Ames

70

Classic Photoshop Effects


You like crazy? How about crazy text? With Photoshop CS3,
you now have the power to apply filters to your text and
still be able to edit the text later.Dave Cross

88

76

Ozone 2.5

78

Epson Stylus Photo 1400

78

EZ Mask

79

Filter Forge

80

Plugin Commander Pro

80

Olympus Stylus 730

81

Little Big Disk

Photoshop Quick Tips


Tracking down your EXIF data, treating your JPEGs right,
and more are all covered in this issue.Sherry London

110

Reviews

Photoshop Beginners Tips


Since Photoshop CS3 released, Colin has it on the brain,
but he share tips for both CS2 and CS3.Colin Smith

Cover photo
David Cuerdon
www.Cuerdon.com
Make-up
Lisa Gumz
www.LisaMakeup.com
Model
Veronica Hugo
Ford Models
www.FordModels.com

about
p h ot o s h o p u s e r
Photoshop User magazine is the official publication of the
National Association of Photoshop Professionals (NAPP). It is for
members, by members, and is not available to the general public
by subscription.
As a NAPP member, you automatically receive Photoshop User
delivered right to your door eight times a year. Each issue features
in-depth Photoshop tutorials written by the most talented
designers, photographers, and leading authors in the industry.

n at i o n a l a s s o c i at i o n o f
p h ot o s h o p p r o f e s s i o n a l s
The National Association of Photoshop Professionals (NAPP) is a dynamic trade
association and the worlds leading resource for Adobe Photoshop training, news,
and education. Founded in 1998, NAPP has become the largest graphics and digital
imaging association in the world with more than 50,000 members worldwide.
NAPP is open to any individual using Photoshop in a casual or professional environment.
Theres no faster, easier, and more affordable way to get really good at Photoshop.
Join today for only $99 U.S., $129 Canada, and $149 International. NAPP also offers
special educational memberships. Go to www.photoshopuser.com to get more info.

p h ot o s h o p u s e r j u n e 2 0 07

NAPP Membership Benefits:


Annual subscription to Photoshop User magazine (eight issues annually)
Members-only website with time- and money-saving content, including:

006

Weekly Tips and Tutorials from


world-class instructors

Advice Desk to get straight,


unbiased advice on products

Vendor discounts on hardware,


software, services, plug-ins, and travel

Bookstore of latest educational


books and DVDs, plus huge discounts

NAPP Perks for complimentary images,


actions, shapes, and plug-ins

National schedule of Adobe


Photoshop training seminars

Help Desk to get your Photoshop


questions answered fast

NAPP Gallery for creating


your online portfolio

Registration discount to Photoshop World Conference & Expothe annual


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

From the Editor


A few words from our E.I.C.

Multitasking at Maximum Speed


A new Creative Suite, Photoshop CS3, and a Photoshop User CS3 Bonus Issue too

p h ot o s h o p u s e r j u n e 2 0 07

This is a very
cool time to be
pushing pixels
for a living.

008

re things really moving that fast? Yuptheyre movin that fast. Look at whats happened in our
industry since just before the beginning of the year. First, Adobe releases a downloadable Public
Beta version of Photoshop CS3. I can tell yaI didnt see that one comin, but it sure made things
exciting around here. Then, the following month, Adobe ships Lightroom version 1 and makes a free
30-day trial version available for downloading.
In early March, Adobe announces that for the first time ever there will be two different editions of
Photoshop CS3 (standard and Extended), and shortly thereafter they give the first in-depth look at the
new Extended features during the opening keynote at our first ever sold-out East Coast Photoshop
World Conference & Expo.
In early April, NAPP publishes the premiere issue of Darkroom: The How-To Magazine for Adobe Photoshop Lightroom and delivers it to NAPP members along with their regular issue of Photoshop User.
By mid-April, Adobe ships not only Photoshop CS3, but also the entire Creative Suite, along with a
slew of other new or updated applications. Then, right on the heels of Adobe shipping CS3, we publish
a special Photoshop User CS3 Bonus Issue that covers nothing but how to use the new features of Photoshop CS3 and Bridge CS3 (and if youre a NAPP member, that special issue is included with the issue
youre holding now). Also, for NAPP members, this special issue takes the place of Darkroom this time
around, but never fear, Darkroom will be back again next issue.
By the end of April, NAPP is approaching 65,000 members worldwide and were producing more training, including live seminars and conferences, online and DVD training, and more articles in Photoshop
User, Darkroom, and on the NAPP member website than we ever have in the history of our company.
Things are really moving that fast but I have to tell youI love it. Look at the access we now have to
Adobe technology, thanks to such things as the Adobe Labs website (http://labs.adobe.com), where
we get to download and explore unreleased and experimental technology. Plus, look at the access
we have to the inner thoughts and workings of Adobe, courtesy of the public blogs by everyone from
Photoshop Product Managers and Engineers to Senior Adobe Executives. Additionally, Adobes Beta
programs gave us all our first real opportunity to help shape the tools well all be using next. This is a
very cool time to be pushing pixels for a living.
If you havent kept up with all the CS3 excitement, open the bonus issue and turn to Matt Kloskowskis
feature on the most important new features and how CS3 is going to streamline your workflow from this
day forward.
In that same bonus issue, youll find articles and step-by-step tutorials on everything from the new
Extended 3D features to the amazing new Photoshop video technology written by a whos who of the
Photoshop community, including Deke McClelland, Dave Cross, and Terry White. And I even tossed in a special
Q&A section addressing some of the most-asked questions sent my way on the new Photoshop CS3.
Here in the regular issue of Photoshop User, our cover story, Metamorphosis, comes from wellknown Photoshop author and contributing writer, Sen Duggan (it starts on page 32).
So, if all this cool stuff happened in just the first half of the year, I wonder what the next six months
will hold? Let me put it this way: Whatever it is, well be covering it.
Hope you enjoy the Photoshop User CS3 Bonus Issue and well see you online, or on the road, or on
Adobe Photoshop TV, or....
All my best,

Scott Kelby
Editor and Publisher

Photoshop
user

JUNE 2007
Volume 10 Number 4 Printed in USA

The official publication of


The National Association of Photoshop Professionals
EDITORIAL:
Scott Kelby, Editor-in-Chief
Issac Stolzenbach, Managing Editor
Barbara Thompson, Senior Technical Editor
Chris Main, Technical Editor
Kim Gabriel, Traffic Director
Mike Mackenzie, Associate Editor
Felix Nelson, Creative Director
Dave Damstra, Production Manager
Taffy Orlowski, Associate Designer
Christy Winter, Associate Designer
Dave Korman, Production Designer

Contributing Writers
Kevin Ames Steve Baczewski Peter Bauer Bruce Bicknell
John Paul Caponigro Dave Cross Linnea Dayton
Jim DiVitale Sen Duggan Daniel East Katrin Eismann
Cristen Gillespie Rod Harlan Jan Kabili Matt Kloskowski
Sherry London Deke McClelland David Singer Colin Smith
Glen Stephens Taz Tally Ben Willmore

Web Team
Jim Gilbert Fred Maya Tommy Maloney
Justin Finley Aaron Westgate

PUBLISHING:
Scott Kelby, Publisher
David Moser, Executive Publisher
Kalebra Kelby, Executive V.P.
Jean A. Kendra, Business Manager
Larry Becker, Executive Director of the NAPP
Paul Parry, Controller

ADVERTISING:
Melinda Gotelli, Advertising Director
email: mgotelli@photoshopuser.com
916-929-8200
Jeanne Jilleba, Advertising Coordinator
email: jeannej@photoshopuser.com
800-738-8513 ext. 115
Margie Rosenstein Nicole Wolfe, Advertising Designers
Veronica (Ronni) ONeil, Director of Circulation/Distribution
800-738-8513 ext. 135

HOW TO CONTACT THE NAPP:


U.S. Mail: 333 Douglas Road East Oldsmar, FL 34677-2922
Voice: 813-433-5006 Fax: 813-433-5015
Customer Service: feedback@photoshopuser.com
Letters to the Editor: letters@photoshopuser.com
Membership Info: info@photoshopuser.com
Membership Suggestions: lbecker@photoshopuser.com
World Wide Web Including the Photoshop Help Desk,
Photo Gear Desk, and Advice Desk: www.photoshopuser.com

COLOPHON:
Photoshop User was produced using Adobe Photoshop CS2,
Adobe InDesign CS2, and Adobe Illustrator CS2. Adobe Myriad Pro
was used for headlines and text.
This seal indicates the content provided is created, and produced solely by the
National Association of Photoshop Professionals (NAPP). Additionally, it ensures
the content maintains the stringent standards set by NAPP, the worlds leading
resource for Adobe Photoshop training, education and news.

All contents COPYRIGHT 2007 National Association of Photoshop Professionals.


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
afliated in any way with Adobe Systems, Inc. Adobe, the Adobe logo, Acrobat, Photoshop,
Illustrator, and InDesign are registered trademarks or trademarks of Adobe Systems,
Inc. in the United States and/or other countries. All other trademarks mentioned belong
to their respective owners. Some of the views expressed by contributors may not be the
representative views of the publisher. ISSN 1535-4687

Contributing Writers
Photoshops most wanted

p h ot o s h o p u s e r j u n e 2 0 07

Deke McClelland

012

is author of the Adobe Photoshop CS2 One-on-One hands-on book (Deke Press/OReilly
Media) and hes host of the online video series, Total Photoshop CS2 Channels & Masks and Photoshop CS3 Beta
One-on-One (www.lynda.com).

Sherry London is author of Photoshop CS2

Steve Baczewski

Colin Smith, an award-winning designer, lecturer,

Gone Wild and has written a number of other books on


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

is a freelance writer, professional


photographer, graphic designer, and consultant. He also
teaches classes in traditional and digital fine arts photography.
His company, Sore Tooth Productions, is based in Albany,
California. Steve can be reached at foxhole510@sbcglobal.net.

and writer, has authored or co-authored 12 books on Photoshop and has created a series of Photoshop training videos
available from PhotoshopCD.com. Colin is also the founder
of the online resource PhotoshopCAFE.com.

Jim DiVitale is an Atlanta-based photographer and

Katrin Eismann, author of Photoshop Restoration

instructor specializing in digital photography. His clients


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

& Retouching and Photoshop Masking & Compositing, is


an internationally recognized artist, author, and educator.
She was inducted into the Photoshop Hall of Fame in 2005.
Check out her websites at www.katrineismann.com.

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

Ben Willmore is author of Up to Speed: Photoshop

has written several books on Photoshop, ImageReady, and


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

CS2 and Photoshop CS Studio Techniques. Currently,


Ben is on tour with his hit seminar Photoshop for Photographers. Check out the free tips and tutorials at his website,
www.digitalmastery.com.

Dave Huss, with more than 25 years experience as a

Glen Stephens, developer of the Tools for Television,

photographer, has authored more than 18 books on digital


photography and photo editing. His latest book is Photoshop
Elements 4: 50 Ways to Create Cool Pictures. Dave is a popular conference speaker in the U.S. and Europe.

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


than 10 years experience in the broadcast video industry.
His company, Pixel Post Studios, provides training and design
services for the broadcast video industry.

is the Director of the NAPP Help Desk


and a featured columnist at Planet Photoshop. As an Adobe
Certified Expert, Pete does computer graphics consulting
for a select group of corporate clients. His latest book is
Photoshop CS3 for Dummies.

Peter Bauer

Ph.D., a nationally known electronic publishing


consultant, is legendary for his entertaining teaching on a
wide range of electronic publishing topics, including scanning,
Photoshop, prepress, and digital file preparation. Hes also
author of Photoshop CS2 Before & After Makeovers.

is author of Adobe Photoshop Master Class and an internationally renowned fine artist
and authority on fine digital printing. He was recently inducted
into the Photoshop Hall of Fame. Visit www.johnpaulcaponigro
.com and receive a free subscription to his enews Insights.

John Paul Caponigro

Kevin Ames is a commercial digital photographer,

Daniel East is an author, freelance writer, presenter/

lecturer, photographer, and writer, has


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

trainer, and consultant with more than 20 years experience in


professional photography, pro-audio, and marketing. Dan is
also founder and president of The Apple Groups Team support
network for user groups.

David Singer

is an award-winning photographer,
videographer, and freelance writer based in Massachusetts.
His creative services boutique serves clients throughout New
England, and hes been teaching traditional and digital photography and video workshops for the past 17 years.

Taz Tally,

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


Art of Photographing Women and Digital SLR Photography
with Adobe Photoshop CS2 All-in-One for Dummies, both
from John Wiley & Sons.

Jack Davis,

Linnea Dayton

has authored, co-authored, and


edited many books, magazines, and newsletters for graphic
designers, illustrators, and others who use computers in their
art. Her most recent book with Cristen Gillespie is The Photoshop CS/CS2 Wow! Book, published by Peachpit Press.

Photoshop News

By Daniel M. East

All the latest on Photoshop-related gear and software

p h ot o s h o p u s e r j u n e 2 0 07

Corel releases
Painter X

014

Fans of Corel Painter will welcome the release of the new


Corel Painter X software. This
full product revision features
more than a dozen new features,
multiple enhancements to several features, and improvements
to the output quality overall.
Targeting professional
designers, photographers, and
digital artists, Corel Painter X
presents features that combine illustration and imaging
for applications ranging from
commercial to industrial to
advanced design work. Among
the new features included in
this new version are improved
support for Mac OS X (including Universal Binary support)
and Windows Vista; speed and
performance improvements;
the RealBristle Painting System;
a color matching palette effect;
new composition tools; and
more learning tools.
The price for Corel Painter X
is $429 for the full version, $229
for the upgrade from previous
versions, and just $99 for the
education edition. In addition, a special limited edition
throwback to Corels paint can
packaging is available for $499,
which includes a special DVDROM tutorial, the Corel Painter
X Composition tool, and collectors poster.

Adobe responds to photo forgery


claims with authentication tools
Last year, photojournalists fell under the gun when Reuters unknowingly published an image
that was excessively manipulated to increase dramatic effect. To prevent further occurrences
at his publication, Reuters Editor-in-Chief, David Schlesinger, published a treatise on the correct
use of Photoshop in their photojournalists workflow (minor alterations such as lighting adjustments, color correction, and cropping are allowed; whereas, the Brush, Clone, Healing, and Eraser
tools are unauthorized itemsthe guidelines are very specific, mentioning nearly every tool
and option in Photoshop, and how it may or may not be used). (Go to http://blogs.reuters.com
to read The Use of Photoshop.) Reuters now works with Adobe and Canon to help ensure the
authenticity of their images.
Adobe Systems Advanced Technologies Lab is working on photo authentication
plug-ins for Photoshop with the assistance of Dr. Hany Farid, Associate Chair and Professor
of Computer Science at Dartmouth College.
When asked about the status of this project, David Story, Vice President of Digital
Imaging Engineering for Adobe Systems Incorporated, states that, These tools are worksin-progress with no hard launch date attached to them.
When asked why Adobe would engage such a challenge, Story went on to say, Adobe
feels it is in our core values to invest in this areaour No. 1 value is Integrity without
compromise. While 99.99% of all image manipulation is acceptable and desirable, in a
few truth-telling circumstances (photojournalism, scientifi c publications, legal proceedings), it is critical to have more tools to detect tampering.
Story went on to say that Adobe has been funding and researching authentication
technology for the past 23 years, and he adds,We think that With great power comes
great responsibility, and since we have made image-editing even easier with Photoshop
CS3, we need to provide tools for detecting tampering in truth-telling circumstances.

Pentax unveils 31.6megapixel digital SLR


In addition to revealing several new Star-series flagship
lenseswhich are specifically designed for their digital SLR
product line and feature smooth, ultra-quiet auto-focusing
Pentax recently managed to work in an announcement
regarding their new, and tentatively named, Pentax 645
Digital medium-format SLR camera.
According to Pentax, the 645 Digital will feature a
Kodak-developed, extra-large CCD image sensor boasting 31.6 total megapixels and integration with their smc interchangeable lenses. The 645 Digital is also reportedly featuring two
storage-media slots for both SD and CompactFlash memory cards; however, with a lot of the
details listed as either unavailable or tentative, more specific information will be reported
in the future.
What we can tell you is that Pentax has developed a lens line designed specifically for this
product, including the smc Pentax-D FA645 55mm f/2.8 that will be marketed with the release
of the digital camera body. Pentax has also announced the new AF200FG dedicated auto flash.
At the recent PMA conference in Las Vegas, the 645 Digital appeared under a glass enclosure
and was presented with very clear information stating that this project is still under development.
Several online resources have indicated that the Pentax 645 Digital shares the same CCD as the
Hasselblad H3D-31 digital SLR announced earlier this year; thus, the question of the price point
continues to be of concern. N

NAPP Member News

By Bryce Smith

All the latest on membership and benefits

Fay Sirkis, a friend of NAPP, a regular instructor at Photoshop World, and an internationally recognized portrait artist, is now star of
her own instructional DVD. She teamed up
with NAPP to release a new DVD, A Celebration of Art: Paint Like a Master, that reveals
the secret techniques she uses to make
her unique photo paintings using Adobe
Photoshop and Corel Painter X. The new DVD
shows how to turn your images into watercolor and oil masterpieces that mimic the
styles of such masters as Norman Rockwell,
Rembrandt, Monet, and many others.
From retouching your image in Photoshop to applying your paints and blending them in
Painter and the final printing process, Fay teaches how to transform your photos into beautiful
works of art. Also included on the DVD are custom brush categories for Corel Painter from
Fays Master Workspace that will help you achieve the amazing results shes known for. The
new brush categories include The Impressionists, Norman Rockwell, Rembrandt, Degas,
Sargent, Cassatt, and Portrait Hair. Available now at the NAPP bookstore for only $119.99.

Launch of new Illustrator Seminar Tour


Many of you use Adobe Illustrator right along with Photoshop.
Well, just in time for the release of CS3, NAPP has announced the
launch in the summer of 2007 of the Adobe Illustrator Seminar
Tour, hosted by pioneer and innovator of digital art, Bert Monroy,
and Dave Cross, Editor-in-Chief of Adobe Illustrator Techniques.
In this regional, one-day course, youll learn to use Illustrators
top vector illustration and design tools with dynamic new tips,
shortcuts, and techniques that will enhance your design skills and
maximize your creative talents. Additionally, youll learn some cool
new techniques for using Photoshop and Illustrator in tandem to
achieve stunning visual effects. Seminar dates and locations can
be found at www.photoshopseminars.com.

Photoshop World is going to Las Vegas


Mark your calendars, friends, because Photoshop World Conference & Expo is headed to Las
Vegas from September 68, 2007. Heres your chance to mix with Photoshop users from around
the world while learning the latest techniques and technology from some of the biggest legends
of the industryright in the heart of the Vegas Strip. This years west coast edition of Photoshop
World will be held at the fabulous Mandalay Bay Resort & Casino, andof courseNAPP members receive special rates on attendance, hotel rooms, and more. For early registration discounts,
class schedules, a list of instructors, and other info, visit www.photoshopworld.com.
Visit the NAPP member site (www.photoshopuser.com) for more info on any item on this page or
any info concerning your membership.
If you have any suggestions or ideas for enhancing your NAPP membership, please send them
to the NAPP Executive Director, Larry Becker, at lbecker@photoshopuser.com.

Recent NAPP Discounts


Tech DepotTech Depot (a sister company of Office Depot) has
set up an online store specifically
for NAPP members featuring
products for graphic designers
and digital photographers.
Imagenomics Pro Plug-in
SuiteMakers of the Noiseware noise-reduction software
recently introduced Portraiture
and RealGrain plug-ins, which
make up their Pro Suite. Only
NAPP members have access to
the entire suite for just $199.95.
SiteGrinder and PSD2FLA
NAPP members enjoy 15%
savings on these two must-have
plug-ins. PSD2FLA is the essential
tool for quickly moving your work
from Photoshop to Flash.
BOSS LOGONAPP members
will receive 5% off the printing
price. This discount only applies
to the printing services and not to
color proofs or finishing options.
PantoneSave 15% on Pantones line of products. Pantone
is a provider of professional
color systems and technologies
for the publishing, Web, fashion, architecture, and interior
design industries.
PHOTORECOVERYNAPP
members get a 10% discount
when ordering PHOTORECOVERY
from the LC Tech website. The
discount is good for the software
on PC or Mac, single-camera, or
professional license.
Adobe Illustrator Techniques
NAPP members save $10 off the
subscription price for the Adobe
Illustrator Techniques newsletter.
Visit www.illustratortechniques
.com for more information.
Photoshop SeminarsNAPP
member tuition for one-day seminars at www.photoshopseminars.com is only $79. N

w w w. p h ot o s h o p u s e r . c o m

A Celebration of Art: Paint Like


a Master DVD released

015

NAPP-Sponsored Photoshop Training


Learn the latest Photoshop techniques from the hottest Photoshop educators

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

Photoshop CS2 Power Tour


featuring Dave Cross or Scott Kelby
Heres your chance to learn the next level
of skills that separates the average pixel
jockey from industry leaders. Scott Kelby,
best-selling author and Editor-in-Chief of
Photoshop User, designed this seminar for
people who are proficient in Photoshop
and want to supercharge their skills with
a day of power-packed, in-depth training.

For Upcoming Dates:


Call 800-201-7323

Photoshop CS2
for Photographers
featuring Ben Willmore
Author/trainer Ben Willmore reveals
the power of digital image editing and
the smartest Photoshop tips that will
let you perfect any image in record
time. Youll learn his favorite photo-editing
techniques for retouching, restoration,
and color correction so you can produce
incredible photographic results.

Upcoming Dates:

Registration Info:

COLUMBUS, OH

Regular admission is $99.


NAPP members pay $79.

May 25, 2007


Greater Columbus
Convention Center

Call 800-201-7323, or register online


at www.photoshopseminars.com.

MILWAUKEE, WI
May 30, 2007
Midwest Airlines Center

Photoshop CS2 Creativity Tour

p h ot o s h o p u s e r j u n e 2 0 07

featuring Bert Monroy

016

Spend a day with the photorealist genius of


our times, Bert Monroy. Its a perfect seminar for Photoshop users, photographers,
and illustrators alike! Bert will show you
features that are underused and overlooked
by most people but powerful enough to
make any imagined effect a reality.

For Upcoming Dates:


Call 800-201-7323
Registration Info:
Regular admission is $99.
NAPP members pay $79.
Call 800-201-7323, or register online
at www.photoshopseminars.com.
Instructors subject to change without notice

Registration Info:

jump to Photoshop, and what to do


when youre there.
(CEUs are not yet offered.)

Upcoming Dates:

ATLANTA, GA
June 1, 2007
Cobb Galleria Conv. Center

NEW YORK, NY
June 7, 2007
Jacob K. Javits Conv. Center
Registration Info:
Regular admission is $99.
NAPP members pay $79.
Call 800-201-7323, or register online
at www.photoshopseminars.com.

Photoshop World
Conference & Expo
LAS VEGAS, NV

Regular admission is $99.


NAPP members pay $79.

September 68, 2007


Mandalay Bay Resort & Casino

Call 800-201-7323, or register online


at www.photoshopseminars.com.

Registration Info:

The Adobe Photoshop


Lightroom Live Tour
featuring Scott Kelby
At this brand-new seminar, Scott Kelby
starts with a live studio shoot, and then
he takes you step-by-step on how to
organize, edit, present, and print your
images using Lightroom. One session is
devoted to using Lightroom with Photoshop: how the two integrate, when to

Advance Registration
Before August 3, 2007
Advance admission is $499.
NAPP members pay $399.
General Registration
After August 3, 2007
General admission is $599.
NAPP members pay $499.
Students (with ID) pay $149.
Call 800-738-8513, or register online
at www.photoshopworld.com. N

Down & Dirty Tricks


The hottest new Photoshop tricks and coolest special effects
N BY SCOT T KELBY AND FELI X NELSON

Outlined Objects
Heres a technique that has been popularized in many video or motion graphics, but we thought it would
translate well to print. The idea is to put as many of the components (that make up the image) into several
layers, with hard-edged outlines and shadows, which gives your image a very textured, dimensional look.

Note: If youre using Photoshop


CS3, this a great time to try the
Quick Selection tool because
it does an awesome job with
these types of selections.
Simply choose the Quick Selection tool from the Toolbox, and
with a small hard-edged brush,
drag over the top of the person
or object you want to select.

p h ot o s h o p u s e r j u n e 2 0 07

STEP TWO: Click on the Add a Layer Style icon at the bottom
of the Layers palette and choose Drop Shadow. Uncheck
the Use Global Light checkbox, enter 7 for Angle, and 8 for
Distance (dont click OK yet).

018

Note: These settings work well for our image but may not
work for yours. The idea is to make the shadow overlap
another element (the guy on the left in our example).

ISTOCKPHOTO/SEAN LOCKE

STEP ONE: Open your original


image. Using the selection tool
of your choice (we used the
Lasso tool), make a selection
around a person or object in
your image. Press Command-J
(PC: Ctrl-J) to put the selection on its own layer (Layer 1).

STEP THREE: Now choose Stroke from the Styles list on the
left side of the Layer Style dialog. Enter 4 for Size, and Outside
for Position. Click on the red color swatch, choose white as
the color, and click OK. Click OK again to apply the layer style.

STEP FOUR: Go to the Layers


palette and click on the original
Background layer. Again use
the selection tool of your
choice to make a selection of
another person or object, and
press Command-J (PC: Ctrl-J)
to place that selection on its
own layer (Layer 2).

w w w. p h ot o s h o p u s e r . c o m

STEP FIVE: While pressing


the Option key (PC: Alt key),
click directly on the word
Effects under Layer 1 and
drag it on Layer 2 to copy
the layer style.

019

STEP SIX: Repeat Steps


Four and Five until youve
separated all the objects or
elements in your image (six
in our example, including
the car and truck).

STEP SEVEN: Click on


the original Background
layer and press Command-L (PC: Control-L)
to bring up the Levels
dialog. Click on the
shadow Output Levels
slider (the black one on
the lower left) and drag
it toward the center
to lighten the background. Click OK. Now, do this to the other
layers in your document but heres the catch: The closer to the
background the object or person is (or the closest to the bottom
in the Layers palette), the lighter it should be (with the original
background being the lightest). This will help with the illusion
of depth. The farther away the object is, the lighter it should
appear (like its in a distant mist or fog).

p h ot o s h o p u s e r j u n e 2 0 07

STEP EIGHT: Add some text to complete the effect. N

020

Down & Dirty Tricks


The hottest new Photoshop tricks and coolest special effects
N BY SCOT T KELBY AND FELI X NELSON

Spiderman Metallic Text


The new Spiderman 3 movie trailers are loaded with stunning special effects. So much so, we were inspired
to design the cover of our Photoshop User CS3 Bonus Issue to mimic some of the movies promotional
posters and wallpapers. One of the main design elements is the unique font and type treatment. Its a
simple, yet extremely effective, metallic type effect that can be easily created in Photoshop.
STEP ONE: Create a new
document with a black
background (5.5x1.5" at
300 ppi in our example).
Press D then X to set the
Foreground color to white.
Choose the Type tool (T)
from the Toolbox. Click in
the center of your document and enter some text. This will
add a new text layer to your document. The font is a key part
of the technique (we used a font called Homoarakhn, 43 pt).

p h ot o s h o p u s e r j u n e 2 0 07

STEP TWO: Click on the


Add a Layer Style icon at
the bottom of the Layers palette and choose
Inner Shadow. Choose
Screen as the Blend
Mode. Click on the black
color swatch, choose
white as the color, and
click OK. Uncheck the
Use Global Light checkbox, enter 90 for Angle, 3 for Distance, and 3 for Size. Now
click on the words Gradient Overlay in the Styles list on the
left side of the Layer Style dialog.

022

STEP THREE: Make sure


the Reverse checkbox
is checked and click on
the Gradient thumbnail.
Click the color stop
on the lower left, then
click on the black Color
swatch. Choose 80%
black (C:0, M:0, Y:0, K:80)
as the color and click OK.

STEP FOUR: Now click


on the color stop at
the lower right, choose
20% black as the color,
and click OK. Now,
click OK to close the
Gradient Editor, and
click OK again to close
the dialog and apply
the layer style.

STEP SIX: Click on the


Add a Layer Style icon on
the bottom of the Layers
palette and choose Bevel
and Emboss. Enter 390
for Depth. Check the
Anti-aliased checkbox.
Click on the down-facing
arrow next to the Gloss
Contour thumbnail and
choose Ring.

w w w. p h ot o s h o p u s e r . c o m

STEP FIVE: Create a new


layer (Layer 1) by clicking
on the Create a New
Layer icon at the bottom
of the Layers palette.
Move Layer 1 below your
text layer in the Layers
palette. Command-click
(PC: Ctrl-click) on the text
layer thumbnail
to make it a
selection. Go
under Select,
under Modify,
and choose Expand. Enter 5 pixels and click OK. Press OptionDelete (PC: Alt-Backspace) to fill the selection with white.

023

STEP SEVEN: Choose Outer Glow from the Styles list. Change
the Blend Mode to Multiply, and the Opacity to 100%. Click on
the color swatch, choose black, and click OK. Enter 35 for Size
and click OK to apply the layer style.

p h ot o s h o p u s e r j u n e 2 0 07

STEP EIGHT: Click on the Foreground color swatch, choose


90% black, and click OK. Choose the Brush tool (B) from the Toolbox. Using a large soft-edged brush, paint a vertical line down
the center of each character (see example). Press Command-D
(PC: Ctrl-D) to deselect and complete the effect. N

024

Down & Dirty Tricks


The hottest new Photoshop tricks and coolest special effects
N BY SCOT T KELBY AND FELI X NELSON

Dramatic Photo Gritty Look

p h ot o s h o p u s e r j u n e 2 0 07

STEP ONE: Open your image


(we used this hobo image,
courtesy of iStockphoto) and
duplicate the Background layer
(Background copy) by simply
dragging the Background layer
onto the Create a New Layer
icon at the bottom of the Layers palette. Go under Filter and choose Other>High Pass.
In the dialog, enter 5 pixels and click OK. Change the Background copy layer blend mode to Overlay. [NAPP members
may download this image at www.photoshopuser.com/
members/magcenter/2007.php.]

026

STEP TWO: Duplicate the


original Background layer
again (Background copy 2) and
move it to the top of the layer
stack. Go under Image, under
Adjustments, and choose
Desaturate. Change the layer
blend mode to Hard Light.

ISTOCKPHOTO/KUZMA

Once again, we were able to convince (we actually begged, and cried a little) one of our resident gurus
and Photoshop Guy, Matt Kloskowski, to show us how to re-create a style thats extremely popular
these days. It takes a simple photo and gives it a really dramatic look. It also combines both an ultra-sharpening technique as well as a slightly desaturated bronze effect. Give it a shot.

STEP THREE: Click on the down-facing arrow at the top-right corner of


the Layers palette and choose Flatten
Image from the flyout menu. Duplicate
the flattened layer (Background copy)
and press Command-F (PC: Ctrl-F) to
apply the same filter effect used in
Step One. Change the blend mode
to Overlay.

STEP FOUR: Flatten the


image again. Click on the
Create New Adjustment
Layer icon at the bottom
of the Layers palette and choose Curves. Add a point by clicking directly on the diagonal line (around the upper third in
our example), move it toward the left, and click OK. This will
lighten the entire image (but focus on the eyes).

w w w. p h ot o s h o p u s e r . c o m

STEP FIVE: Click on the layer mask thumbnail of the Curves


adjustment layer, and press Command-I (PC: Ctrl-I) to invert
the mask (the image will appear darker). Now press D to set the
Foreground color to white. Choose the Brush tool (B) from the
Toolbox and, using a soft-edged brush, paint over the eyes to
add brightness to them.

027

STEP SIX: This step is


optional. If the eyes in your
image still arent bright
enough, then create a
new layer by clicking on
the Create a New Layer
icon at the bottom of the
Layers palette (Layer 1).
Press D then X to set the
Foreground color to white. Now use a soft-edged brush to paint
over the white portions of the eyes then change the layer blend
mode to Soft Light.

p h ot o s h o p u s e r j u n e 2 0 07

STEP SEVEN: Create another


new layer (Layer 2). Click on
the Foreground color swatch,
choose a dark green (or whichever eye color you prefer),
and click OK. Paint over the
eyes again and change the
layer blend mode to Color. If
the color is too vivid, you can
lower the layer Opacity. If the effect isnt vivid enough, you
can duplicate the eye color layer as many times as you wish
to achieve the desired effect.

028

continued on p. 30

STEP EIGHT: Flatten the image,


then duplicate the Background
layer again (Background copy).
Now go under Filter and choose
Render>Lighting Effects. The
setting youll enter here is
totally subjective, depending on
the color, brightness, and effect
youre trying to achieve in your
image. Here are the settings we used for our example. Click OK
when youre satisfied with the result.

p h ot o s h o p u s e r j u n e 2 0 07

STEP NINE: Add a layer mask by clicking on the Add Layer Mask
icon at the bottom of the Layers palette. With the Foreground
color set to black and the Brush tool selected, you can paint back
in any highlights or bright areas you want (in our example,
around the eyes, nose, cheeks, and some of the hair) to complete
the effect. N

030

Nfubnpsqiptjt
In search of the transformed image

METAMORPHOSIS. THE VERY WORD ITSELF IS MAGICAL AND MYSTERIOUS. AND THE PROCESS THAT IT
REFERS TO IS EQUALLY MYSTIFYING AND ENCHANTING: A PROFOUND TRANSFORMATION OF FORM BY
NATURAL OR MAGICAL PROCESSESAN ALTERATION IN CONDITION, LOOKS, OR SPIRIT.
ONE OF THE MOST COMMON EXAMPLES OF METAMORPHOSIS IS ALSO ONE OF THE MOST SPECTACULAR:
THE TRANSFORMATIONAL CHANGE OF A CATERPILLAR INTO A BUTTERFLY. OTHER INSTANCES OF METAMORPHOSIS ABOUND IN THE NATURAL WORLD BUT THE CONCEPT OF TRANSFORMATIONAL CHANGE IS ALSO
INTEGRAL TO THE CREATIVE JOURNEY. AT A BASIC LEVEL, THE PHOTOGRAPHIC PROCESS IS ALL ABOUT TRANSFORMATIONAL CHANGE
FROM ONE STATE INTO ANOTHER. WHEN WE SEE A SCENE IN THE REAL WORLD, WE THEN USE OUR CAMERAS AND LIGHT-SENSITIVE CHEMICAL EMULSIONS (FILM) OR LIGHT-SENSITIVE DIGITAL SENSORS TO TRANSFORM THAT SCENE INTO AN IMAGE THAT WE CAN TAKE BACK
INTO OUR DARKROOMS AND STUDIOS. ONCE THE IMAGE HAS BEEN CAPTURED, WE USE EITHER CHEMICAL OR DIGITAL MEANS TO EFFECT
FURTHER TRANSFORMATIONS WITH THE GOAL OF CREATING A FINISHED IMAGE THAT FULFILLS OUR CREATIVE VISION.
In my own work, the concept of metamorphosis is a key part of
my creative philosophy, both in terms of the work I do with
my cameras and the transformational alchemy thats applied
in the digital darkroom. The transformations I apply to most
photos are not extreme makeovers that turn an image into
something totally different (although there can be times when
a particular project requires such a drastic change), but adjustments to the basic components that make up a photographic
image. Before we get into the particulars of some of these techniques, lets take a look at these essential components to better
understand the most effective ways to transform an image.

Before you even start pondering whether to use Curves or Levels,


you should take a good look at the image and see what it tells
you. To help you concentrate on only the image, press the F key
once (twice in Photoshop CS3) to place the image into Full Screen
Mode With Menu Bar (you can also find this command under
View>Screen Mode). Then press the Tab key to hide all of the
Photoshop palettes and tools. Now youre viewing only the image
with no other distractions.
At the most fundamental level, the adjustments that we make
to images can be distilled down to four basic areas: lightening, darkening, adjusting contrast (which is just lightening and
darkening at the same time), and if the image is color, changes to
the color balance. Before you start thinking about the procedural
details of how to accomplish something in Photoshop, you should
look at the image and think in those broad terms of lighter, darker,
more contrast, less contrast, etc. Try to imagine how making certain
areas lighter or darker, or adjusting contrast might change the
image. The human eye is attracted to lighter areas and to contrast.
How might such adjustments help guide the viewers eye through
the image? With adjustments to tone and contrast, can you more
effectively emphasize certain areas of the images or alter the mood
of the scene?

Before

Once you've determined what the image needs, then you can
think about which tools and techniques in the digital darkroom
might help you achieve those ends.

After
Scene at a small carnival in Eastern Europe transformed
into a tableau from a contemporary fairytale.

w w w. p h ot o s h o p u s e r . c o m

Mjtufo!up!uif!jnbhf!

033

Nfubnpsqiptjt

M
! jhiu!qbjoujoh!311!gffu!cfmpx!tfb!mfwfm
IMAGE TRANSFORMATIONS DONT HAVE TO BE DRAMATIC, AND SOMETIMES A FEW SUBTLE ADJUSTMENTS CAN ADD UP TO A
SIGNIFICANT CHANGE THAT CAN TRANSFORM A PHOTOGRAPH FROM SO-SO TO STUNNING. LETS TAKE A LOOK AT ONE SUCH
EXAMPLE: A PHOTOGRAPH TAKEN JUST AS THE SUN WAS DISAPPEARING BEHIND THE HORIZON IN DEATH VALLEY.
TUFQ!POF; The image, which began life as a RAW file, was flat, a
bit dark, and lacking in any real focus. To begin the transformation
I concentrated first on the main subject, the Below Sea Level sign.
I used the Pen tool to make a path of the sign, loaded this as a selection (Command-Return [PC: Ctrl-Enter]), and then added a Curves
adjustment layer (Layer>New Adjustment Layer>Curves) to significantly increase the contrast.
TUFQ!UXP;!After the sign looked good, I started to think about
the actual light circumstances at the time the photo was taken and of
ways to work with that and change the tonal character of the image.
Because the sun had just slipped behind the far mountains, I decided
to increase the bright glow that the setting sun leaves in its wake.
Using the Elliptical Marquee tool (M), I made an elliptical selection that covered a portion of the sky and the mountains on the
right side of the image. With the Magic Wand tool (W), I Optionclicked (PC: Alt-clicked) on the mountains to subtract them from the
original elliptical selection. Then I added another Curves adjustment layer and dramatically brightened that area. While still in the
Curves dialog, I also made the adjustment much warmer by raising
the Red Channel curve (Command-1 [PC: Ctrl-1]) and lowering the
Blue Channel curve (Command-3 [PC: Ctrl-3]). I applied a strong
Gaussian Blur (Filter>Blur>Gaussian Blur) of 70 pixels to the layer
mask to soften the edges and create a more convincing sunset glow.

p h ot o s h o p u s e r j u n e 2 0 07

TUFQ!UISFF; Continuing with the idea of enhancing the natural


light, I used the Lasso tool (L) to make a rough selection of the
desert floor. Using a Curves adjustment layer, I brightened and
increased the contrast in that area, suggesting the last rays of the
setting sun sweeping across the ancient lakebed. To perfect this
mask, I selected the signpost and filled the selection with white in
the layer mask (with the Foreground color white, and pressed Command-Delete [PC: Ctrl-Backspace]) so that the entire signpost was
now illuminated with the same adjustment.

034

TUFQ!GPVS;!As a final touch, I added two additional Curves


layers to darken the sky and added a warmer color balance to
the entire image.
To darken the sky, Command-click (PC: Ctrl-click) on the layer
mask used to lighten the desert floor to load it as a selection,
then choose Select>Inverse (Command-Shift-I [PC: Ctrl-Shift-I])
to change it to a selection of the sky area. Next, add a Curves
adjustment layer and drag the RGB curve down slightly. Because
this layer mask was originally created for the desert floor, I further
edited this layer using a large, soft-edged brush to make the skyarea selection blend in better.
The warming effect was created with a Curves adjustment
layer that raised the Red curve and lowered the Blue curve
slightlythe opposite of blue is yellow so this adds a subtle
warm tone to the photograph.
The primary adjustments in this photothe sign, the sunset
glow, the light sweeping across the desert floor, and the darkened
skyare all very simple but together they create a significant transformation in this image (as shown).

Nfubnpsqiptjt

Usbotgpsnbujpot!uispvhi!cmfoe!npef!upojoh
BACK WHEN I USED TO MAKE MY FINE ART PRINTS IN A TRADITIONAL BLACK-AND-WHITE DARKROOM, I LOVED TO EXPLORE THE
POSSIBILITIES OFFERED BY WARM-TONED PAPERS, SEPIA TONING, SPLIT TONING, AND SELECTIVE TONING. THOUGH MY WORK
TODAY IS ALL DONE IN A DIGITAL DARKROOM WITH PHOTOSHOP, I STILL FIND THAT A GENEROUS APPLICATION OF WARM TONING, COMBINED WITH THE TRANSFORMATIVE POWER OF THE BLEND MODES, WORKS QUITE WELL FOR TAKING AN IMAGE TO A
PLACE THATS JUST BEYOND THE LITERAL AND MORE INTO THE REALM OF MEMORY AND EMOTION. FOR IMAGES WHERE I WANT
TO COMBINE A MUTED PALETTE OF THE ORIGINAL COLORS WITH A STRONG SEPIA COLORING, I USE A PROCESS THAT I CALL
SEPIAESQUE. THIS TECHNIQUE COMBINES A HUE/SATURATION TONING LAYER AND A BLURRED DIFFUSION LAYER WITH BLEND
MODES. KEEP IN MIND THAT THIS ISNT A ONE-SIZE-FITS-ALL TECHNIQUE AND IT MAY REQUIRE SOME MODIFICATION USING
LAYER MASKS OR DIFFERENT LAYER OPACITIES. IT ALSO MAY CREATE TOO MUCH CONTRAST ON IMAGES THAT ALREADY FALL
INTO THE HIGH-CONTRAST CATEGORY.
HERE ARE THE BASIC STEPS FOR MY SEPIAESQUE TECHNIQUE:

TUFQ!UXP; Next, add a new blank layer (Layer>New>Layer)


then hold down the Option key (PC: Alt key) and choose Merge
Visible from the Layers palette menu (keep the key held down
until you see the new thumbnail appear). This creates a new layer
based on the cumulative effect of all the visible layers. If youre
good at multi-key shortcuts, the one to use for this is CommandOption-Shift-N-E (PC: Ctrl-Alt-Shift-N-E), which makes your new
blank layer and at the same time merges your visible layers.
Apply a Gaussian Blur to the merged layer. The amount you
use will vary depending on the size of your image but I typically use a blur Radius of 810 pixels. Set the blend mode of
this layer to Overlay and lower the layer Opacity to 65%. As with
the Hue/Saturation toning layer, if the contrast increase is too
strong, try Soft Light mode and lower the Opacity, or apply
a partial layer mask to the darker areas.

w w w. p h ot o s h o p u s e r . c o m

TUFQ!POF;!Add
a Hue/Saturation
layer to the main
image (Layer>
New Adjustment
Layer>Hue/Saturation). The Colorize
box is checked and
the Hue and Saturation values are set to 38 and 20, respectively.
Experiment with these values to see what works for you. After
clicking OK to close the dialog and apply the toning, go to the
top-left corner of the Layers palette and change the blend
mode of the layer to Overlay.
If youre starting with an image that already has a lot of contrast, the Overlay blend mode may take this too far. If this is the
case, try the Soft Light blend mode for a gentler effect. If shadow
areas with important detail seem to be getting too dark, you
might consider lightening them using a Curves adjustment layer
with a layer mask before applying the diffusion effect outlined in
the next step.

035

Nfubnpsqiptjt
TUFQ!UISFF;!In the image shown (taken in Dresden,
Germany), the dark areas of the covered passage between
the buildings were lightened using a Curves layer set to Screen
with a layer mask that targeted only those regions. To suggest
the hint of a story with light, a Curves layer was added that
illuminated the windows in the passage.

p h ot o s h o p u s e r j u n e 2 0 07

TUFQ!GPVS; Finally, to lend the feel of misty imperfection


that often accompanies memory and emotion, a merged
copy layer was created from all the visible layers (CommandOption-Shift-N-E [PC: Ctrl-Alt-Shift-N-E]) and the Lens Blur filter
(Filter>Blur>Lens Blur) applied along with a gradient mask to
blur the right foreground side of the photograph.
(See the following section for details on using the Gradient
tool to create a depth mask for the Lens Blur filter.)

036

Before

After

Nfubnpsqiptjt

Uif!cfbvuz!pg!uif!cmvs
IN ADDITION TO GUIDING THE VIEWERS EYE AND SHAPING THE IMAGE WITH LIGHT AND SHADOW, THE USE OF SELECTIVE FOCUS
IS ALSO AN IMPORTANT TOOL IN THE TRANSFORMATION PROCESS. IN PHOTOGRAPHS THAT PORTRAY THE WORLD THROUGH THE
SELECTIVE FILTER OF PERSONAL EXPERIENCE, SHARPNESS IS OFTEN THE LEAST IMPORTANT ASPECT OF THE IMAGE AND CREATIVE
BLURRING IS MUCH BETTER SUITED TO EXPRESS THE INTANGIBLE FEELINGS THAT WE MAY HAVE ABOUT A PERSON OR PLACE.
THE LENS BLUR IS THE MOST USEFUL FILTER FOR APPLYING A BLUR THAT MIMICS THE EFFECT OF OPTICAL BLURRING CREATED
BY LENSES AND WIDER APERTURES. THOUGH THIS FILTER DOES AN IMPRESSIVE JOB OF BLURRING DETAILS AND CREATING APERTURE-SHAPED HIGHLIGHT POINTS, ITS REALLY MORE ABOUT MASKING THAN IT IS ABOUT BLURRING. TO GET THE MOST OUT OF
THIS FILTER, USE IT IN CONJUNCTION WITH AN ALPHA CHANNEL THAT CAN BE LOADED AS A DEPTH MAP TO CONTROL HOW THE
BLUR IS APPLIED THROUGHOUT THE IMAGE.

Vtjoh!b!hsbejfou!nbtl!gps!b!efqui!nbq
IF YOURE TRYING TO ADD A SIMPLE BLUR THAT RE-CREATES THE FALLOFF OF FOCUS FROM FOREGROUND AREAS TO THE
BACKGROUND, ONE WAY TO DO THIS IS BY CREATING A GRADIENT MASK TO USE AS A DEPTH MAP.

TUFQ!POF;!Make a new
Alpha channel by selecting the Channels palette
and clicking on the Create
New Channel icon at the
bottom of the palette.
Then, click the Eye icon
for the RGB composite
channel. The new Alpha
channel will be black and
will show up as transparent red over the image.

w w w. p h ot o s h o p u s e r . c o m

TUFQ!UXP;!Choose the Gradient tool (G). Then go to the


Options Bar, open the Gradient Picker, and select the third
swatch from the left (a Black, White gradient). Click the first style
icon to create a Linear Gradient, set the blend mode to Normal,
and the Opacity to 100%. Make sure that Reverse is not checked.
In this example, the gradient was drawn from left to right and
followed the angle of the windowsill.

037

Nfubnpsqiptjt
TUFQ!UISFF; With the
Alpha channel active, drag out
a gradient to define a gradual
falloff in focus. Shorter gradients will create a more abrupt
transition and longer gradients
will result in a more gradual
transition. Repeat as needed
until you get the gradient
mask just right. Once you get
it where you want it, name the
Alpha channel Lens Blur Mask.
TUFQ!GPVS;!Click on the RGB channel to make it active and
then click the Eye icon for the Lens Blur Mask channel to turn it
off. Make a copy layer of your image (use the Merge Visible layers
trick shown earlier to create a new layer from the cumulative
effects of several different layers) and choose Filter>Blur>Lens Blur.

p h ot o s h o p u s e r j u n e 2 0 07

TUFQ!GJWF;!In the Lens Blur dialog, select your Lens Blur Mask
as the Depth Map Source. Adjust the Radius control to dial in
the desired amount of blur. If the area that you want in focus is
blurred, simply click on that area in the preview and the blurred
areas will change.
In the example image of the open windows, the blurring of
the background helps to focus the attention on the billowing
curtain in the foreground. We can still see another curtain in
the background but sharpness in that area isnt crucial for this
type of photograph. Indeed, its often easier for the mind to
find the traces of a story when there are some details left to
the imagination.

038

Before

After

Mfu!uif!kpvsofz!cfhjo
IN THE WORLD OF IMAGE METAMORPHOSIS, A GOOD PHOTOGRAPH IS THE POINT OF DEPARTURETHE PLACE WHERE THE
JOURNEY BEGINS. SOMETIMES THE DESTINATION IS KNOWN, SOMETIMES THE RESULT CAN ONLY BE SENSED OR GUESSED,
AND OTHER TIMES ITS A TOTAL SURPRISE. EVERYTHING THATS NEEDED FOR THE TRANSFORMATION IS ALREADY IN THE
IMAGE. YOU JUST HAVE TO FIND THE KEY TO UNLOCK IT AND START THE CREATIVE WHEELS TURNING. BY LISTENING TO THE
IMAGE AND SEEING HOW THE LIGHT FALLS AND WHERE THE SHADOWS LIE, YOU CAN FIND THE PATH THAT WILL LEAD YOU TO
THE TRANSFORMED IMAGE. Q
ALL PHOTOS BY SEN DUGGAN

Photoshop Mastery
Taking Photoshop to the next level
NBY BE N W ILLMORE

Better Car Streak Images


Many photographers call it a day when the sun goes down but after dark, you can capture headlights and
taillights as streaks in a long exposure. Combining special shooting techniques with some Photoshop tricks
can make for more versatility when creating this type of image.

Shooting
techniques
To capture the
best raw material to compose
in Photoshop,
its essential to
use a tripod and
cable release.
Start by framing
the photo in
Base exposure
the viewfinder
(it helps to do this right after sunset while
you still have enough light to see your
surroundings) and then take a shot of the
whole scene, preferably without any cars
passing by. This will serve as the base
to which well later add streaks. In this
example, we lit the trees by painting
light onto them using a powerful flashlight during a 30-second exposure.
The next step is to capture individual
cars passing through the scene, one car
per exposure. Set the camera on manual
mode with the shutter speed set to bulb
so the length of time you hold down the
cable release will determine the length
of exposure.
The aperture setting will determine
how bright the car streaks will appear,
so experiment until you figure out the
setting needed to produce good-looking
results. This will vary depending on how
fast cars are passing through the scene
and if youre capturing a headlight
or taillight streak. I often end up with

Streak exposures
for semi truck (top);
headlights
(middle);
and taillights
(bottom.)

10 or 20 individual streak shots before


I recompose the scene and start the
process over again.
Adjustment ideas
We need to adjust the car streak exposures
so that most of the background becomes
solid black. We can do that in two ways: In
Photoshop, press Command-L (PC: Ctrl-L)
to open the Levels dialog and drag the
upper-left slider until the majority of the
background shows up black; or in Adobe
Camera Raw, press-and-hold the Option
(PC: Alt) key while adjusting the Shadows
slider. This will prevent the car streak
exposures background from affecting the
base image.
Combining exposures
To combine the exposures into a single
image in Photoshop, switch to the Move
tool (V), hold down the Shift key, and then
drag each of the car streak images onto the
base image (holding Shift will keep them in
alignment). Repeat this process until all of
the car streak exposures have been moved

into their own separate layers in the Layers


palette of the base image. (You can close
the individual streak images now.)
Next, in the Layers palette of your base
image, click on each car streak layer and
change the blend mode (at the top of the
Layers palette) to Screen. Click on the Eye
icons beside each layer to toggle the visibility and determine the combination of car
streaks that makes the most pleasing result.
Then increase or decrease the Opacity of
each streak layer to adjust the brightness
of each streak. You can also duplicate a
streak layer to double its brightness. Heres
our final image.
With this technique, you can combine
as many streaks as you want into a single
image, then independently control the
brightness of each streak, and still retain
the ability to retouch the base image without affecting the streaks. N

Final result

Ben Willmore is the best-selling author of Adobe Photoshop CS2 Studio Techniques and Up to Speed: Photoshop CS2, as well as co-author
of How to Wow: Photoshop for Photographers. Ben spends many of his days as a digital nomad in his 40' motorcoach. Learn about his latest
adventures at www.whereisben.com.
ALL IMAGES BY BEN WILLMORE

w w w. p h ot o s h o p u s e r . c o m

his technique may not be appropriate for every situation, but its
what I consider the ideal way to
create car streak photos.

039

a nd
Kelby
Scott

ra
istog
the H

ms

Adobe's Jo
hn Loiacono
and Scot

t Kelby

Photo Safari with Joe McNally (left)

x
Tech E

Big Elec

p
tric Cat

erforms

er-hours
t the aft

party a

Class with Jim

's
t Jillian

Portfolio Revie

NAPP Bookstore

ss
po cla

w by Joe Glyda

Best of Sh

ow Guru w
inner, Ma

tt Zumbo

DiVitale

#4GRQTVHTQO$TWEG$KEMPGNN

he excitement began long before the first day of Photoshop


World & Expo in Boston last April. It began the day we received
the flyer in our mailboxes. The anticipation of being able to see
the best of the best and the chance to see the Adobe Creative Suite 3
in action drove the attendance records through the roof!
The Hynes Convention Center was about to be taken over by thousands of NAPP members ready to learn the latest the Photoshop gurus
had to offer. On Tuesday, April 3, those fortunate enough to attend preconference sessionsincluding Canon Live Studio, NAPP Photo Safari,
and Illustrator for Photoshop Userswere in for a great beginning.

Opening ceremonies
Wednesday was the official start of Photoshop World and it was
standing room only for the excited crowd waiting for the Opening
Keynote. Once the lights dimmed, the tone was set with a hilarious
performance by Katrin Eismann and Terry White as award presenters
for The Photoshop Music Awards. This was followed by a video introducing the history of the Photown musical group, Scott Kelby and
the Histograms, featuring Felix Nelson, Dave Cross, Matt (Jazz Hands)
Kloskowski, and Corey Barker. After the video, the group appeared
live on stage, singing a medley of their hits and proceeding to bring
the house down with a well-choreographed performance.
Scotts opening remarks were followed by an exhilarating
keynote speech by Adobe Systems Inc. Senior VP of Creative
Solutions, John Loiacono, who with Senior Product Manager for
Adobe Photoshop, John Nack, proceeded to amaze the
attendees with the new Photoshop CS3 and Photoshop CS3 Extended. The ability of Photoshop CS3
Extended to manipulate 3D objects is just one
of many cool new features in the new release.
At the end of the Adobe presentation, Scott
presented John with a Scott Kelby and the
Histograms gold recorda perfect ending
to a great opening keynote speech!
Next up, the announcement of the Photoshop
Hall of Fame nominees and presentation of the
Dean Collins Scholarship. Then, Executive Director of
the NAPP, Larry Becker, finished up the opening ceremonies by presenting the Photoshop Guru Awards
(see pages 4243).

Training, Expo, and fun


Classes during April 46 were held by 40 of the top
instructors in the worldincluding such
well-known names as Terry White, Deke
McClelland, Katrin Eismann, Jim
DiVitale, and Vincent Versace
and followed tracks such
as: Creative Suite, Creativity, Digital Photo Live
Studio, Photoshop

Lightroom, Pro Photography, Motion Graphics, Productivity, Digital


Photography, Print & Prepress, Photoshop & Photography, and
Photoshop Techniques.
Exhibitors at the Tech Expo offered tremendous deals and
showcased cutting-edge products, but the hit of the Tech
Expo had to be the Portfolio Reviews (did I mention this
was free to attendees?). Attendees had the opportunity
to have their work critiqued individually by highly
acclaimed photographers. One attendee told me
that this one session was worth the price of admission for the whole show.
And for fun and networking, one of the biggest hits of the conference was the Photoshop
after-hours party at Jillians. If you were lucky
enough to have a ticket, you were privileged
to see a rare performance by Big Electric Cat,
featuring Scott and Kalebra Kelby, Felix Nelson,
Scott Stahley, and Tony Llanes. They brought
the house down with some killer tunes.
And lets not forget Midnight Madness, the
Art of Digital Photography panel, and Photoshop
Wars. Everyone I spoke with said the Conference
was fantastic, so for those of you who missed this
one, you have one more chance. Start planning now
for the west coast show at the Mandalay Bay Resort &
Casino in Las Vegas, from September 68!

9JCVVJG#VVGPFGGU5CKF

The Portfolio Review was worth the price of admission. Before I went to this
I wasnt sure if I was on the right path, but now I do! Anne Ferguson
Compared with other conferences, Photoshop World is hands-down the best
conferenceit gives me more information, more options for sessions, the
classes are more involved, and the instructors are also approachable and
cordial. Will definitely be back and Ill bring my employees as well.
Jeff from Boston
Great tracks for digital photographers! The Epson print guys
helped my color output dramatically. Ed from NY C Q

"

Bruce Bicknell (bbicknell@digitalblueproductions.com) is a


Graphics/Video and Animation specialist who has written
articles for Photoshop User, MacTribe, and ATI. He is Creative Director for a company working on video game simulation training
for the military and is also an instructor at www.sessions.edu.

Photoshop Speed Clinic


Twice the work in half the time
NBY MAT T K LOSKOWSK I

Create a Skin Softening Action


This time around, were going to take a look at action basics for all of you action newcomers
out there. Even if youre not new to the Actions palette, please dont worry because theres
something in here for you, too.

ctions are one of the coolest things in Photoshop to


help you speed up your workflow. They allow you
to take repetitive tasks, record them once, and then
play them back in a fraction of the time. Best of all, you
dont have to reproduce all of the same steps when you
play them back. Just click a button and all the steps that
you recorded will be played back automatically.
That said, its important to understand the basics if
youre just beginning to test the waters with actions, so
thats what were going to do. In this example, well take
a look at a skin-softening trick that I use often. I find it
gives the skin in my portraits a nice, soft look while still
maintaining the color and skin texture. In fact, I use it so
often I created an action for it because theres no reason
for me to do the same steps each time. Lets dig in.

STEP THREE: Next, you can choose a Function Key to assign


as a shortcut for your action. This will allow you to just press
a single key to run your action, instead of always opening the
Actions palette. Choose F3 from the Function Key pop-up
menu for this action. Leave the Color setting to None, and click
Record to start recording your action.

p h ot o s h o p u s e r j u n e 2 0 07

ISTOCKPHOTO/SOUBRETTE

STEP ONE: In Photoshop, open a photo


where the subject
could benefit from
some skin softening. Then, if you
dont already see
the Actions palette,
open it by choosing
Window>Actions or
pressing Option-F9
(PC: Alt-F9). Now
theres a little trick
to creating a new
action: You need
to have that action
live in a folder. If you
look at the Actions
palette, youll notice that there are
already some preexisting folders
there. While you can indeed store your actions in one of them,
my suggestion is to create a new one for your own actions by
clicking the Create New Set icon at the bottom of the Actions
palette. Then give it a descriptive name such as Matts Actions
(youll probably want to use your own name though).

STEP TWO: Now click the Create New Action icon at the
bottom of the palette to begin creating a new action. The
New Action dialog will appear. Heres where you can enter a
descriptive name for your action. For this example, call this
action Skin Softening. Choose which set youd like to add this
action to from the Set pop-up menu. This set should default
to the folder that you just created in Step One, but if it doesnt
then go ahead and choose it here.

STEP FOUR: Okay,


at this point everything you do is being
recorded into the
action. Youre now
ready to start actually
doing things. Since
you already have a
photo open from Step
One youre ready to
start. Go ahead and
duplicate the original

044

continued on p. 46

PHOTOSHOP SPEED CLINIC

layer by pressing Command-J


(PC: Ctrl-J). This will leave
your Layers palette with two
copies of the same layer. If
you look over to the Actions
palette youll see that a new
step was recorded.

STEP FIVE: Click


once on the top
layer to select
it. Then run the
Surface Blur filter
on it by going to
the Filter menu
and choosing
Blur>Surface Blur.
For a low-resolution photo (72 ppi)
I use 10 for the
Radius and 15 for
the Threshold. For
a high-resolution
photo (150300 ppi)
I change the Radius setting to 20 and Threshold to 25. Click OK
when youre ready to apply the filter.

p h ot o s h o p u s e r j u n e 2 0 07

STEP SIX: Now this is a good


start but it blurs the living
daylights out of the skin on
the photo, and probably some
of the details, too. No sweat
thoughwell take care of
that in a minute. First, lets set
ourselves up to selectively
bring back some of the details
by adding a layer mask. Again,
working on the top copy of
the photo (the blurred copy) click the Add Layer Mask icon at
the bottom of the Layers palette.

046

STEP SEVEN: Finally,


click in the Opacity
field at the top of the
Layers palette and set
the Opacity of this layer
to 50%. At this point,
youre pretty much
done with the action
so go ahead and click
on the Stop Recording
icon at the bottom
of the Actions palette
to stop recording your
steps. Your newly created Skin
Softening action should have
five steps in it.

STEP EIGHT: Okay, by now


youre probably wondering why the photo looks
really blurry in the detail
areas. This cant be the
final effect, right? Well,
thats the thing about
actions. Theyre great for
automating repetitive
tasks (such as adding
layers, layer masks, etc.);
however, theyre not so
good at knowing where
the key detail areas in your portrait are (such as the eyes,
nose, mouth, and hair). Thats where you come in. Remember
back in Step Six when we added the layer mask? Well, now
go back and paint
with the Brush tool
(set to black) on that
layer mask to reveal
the parts of the sharp
layer under the blurred
copy. This way you get
the best of both worlds
by blurring and softening the skin but still
keeping details in the
key areas.

Before

After

And there you have


it: your first action.
Youre ready to run it
on other photos now.
Just open another
photo, click on the
action in the Actions
palette, and then click
the Play icon. Or, if you
recall from Step Three
that we assigned this
action a Function
Key shortcut, you can
simply press F3. Either
way, the steps you
just recorded will be
repeated for the new
photo. Itll leave you
with the same layer
mask so you can go
in and tweak the
results to bring detail
back into the key
areas again. N

If you have an idea for an action that youd like to see in the
Speed Clinic, please send it to letters@photoshopuser.com.

The Fine Art of Printing


Taking inkjet printing to the next level
QBY J O H N PAU L C A P O N I G R O

Resolution
A decade ago, inkjet prints had large visible dots. Today its difficult to see the dots of high-end
inkjet prints with the naked eye. Smaller is betterwhether its grain in film and analog paper
or noise in digital capture and dot structure in inkjet printsfor most applications.

p h ot o s h o p u s e r j u n e 2 0 07

igh resolution in digital files and


printers is needed to hold crisp detail and smooth gradations, which
have become hallmarks of fine photography. Resolution in digital files and digital
printers isnt the same. Resolution for
digital files is measured in pixels per inch
(ppi); pixels are square and surrounded by
other pixels. Resolution for digital prints is
measured in dots per inch (dpi); dots come
in a variety of shapes and are surrounded
A pixel rendered
by the color of the substrate to which
by dots
theyre appliedtypically white paper.
Pixels come in millions of colors, while dots come in only
a few (typically variants of cyan, magenta, yellow, red, green,
blue, orange, or black). Precise combinations of these limited
colors are clustered to create the appearance of many more
colors. So, it takes many dots to reproduce a single pixel. Print
resolution then is always higher than file resolution.
Smaller dots usually produce finer detail and smoother
transitions than larger dots. The dots produced by todays
printers are very smallsmaller than the width of a human
hair. Dot size is measured in picoliters (millionths of a liter)
and droplet sizes today may be less than 2 picoliters.

048

Dot selection, structure, and placement


Dot size isnt the only factor in achieving a smooth and detailed
visual appearance; selection, shape, and placement are also
important. Todays inkjet printer drivers/RIPs use sophisticated
software algorithms to determine what types of dots are
generated and where theyre placed.
Selection: The choice of the dot color is extremely important,
not just for reproducing color accurately but also for reproducing smooth detail. For instance, lighter inks hold highlight
detail because lighter dots are less visible, so highlights appear
smoother. To test this, make a print with black ink only and look
closely at smooth areas and highlights; the image becomes

coarse. Compare that to a print made with all of the ink colors:
the image becomes smooth. To achieve the finest detail and
smoothest transitions, you need to use most or all of the inks.
Shape: While most dots are ellipses, some are triangular,
square, or star shaped.
Placement: Larger well-placed dots can outperform poorly
placed small dots. Screening frequencies determine dot
placement. Offset presses typically use halftone frequencies,
where the dots are placed in a regular pattern while their size
varies (smaller dots for lighter values, larger dots for darker). To
avoid moir patterns, halftone frequencies are limited to four
inks because the pattern of each inks dots is offset at different
angles and there arent enough angles to accommodate more
than four inks. When more than four inks are required, stochastic screening frequencies are useddots are randomly placed
while their size remains the same (fewer dots clustered for
lighter values, more dots clustered for darker). The latest inkjet
printer screening frequencies are a hybrid of both, using precise
random placement and variable droplet size.
Ink-delivery systems also vary: Epson printers use piezoelectric technology while both Canon and HP use heat-based
technology. Currently, piezoelectric systems are more precise,
rendering crisper detail and smoother gradation; but will
future advances in heat-based technology and increasingly
small dot structures deliver similar results without such a high
degree of precision?
File resolution for Epson printers
For Epson printers, fine line detail is best rendered when
printing at a file resolution of 360 ppi. Image quality doesnt
deteriorate significantly until file resolution drops to less than
180 ppi and quality is slightly compromised when printing at
resolutions above 720 ppi. File resolutions that are even multiples of the printers resolution deliver incrementally higher
quality than uneven multiples.
[NAPP members may download a PDF detailing file and print
sizes at www. photoshopuser.com/members/magcenter/2007.php.]

THE FINE ART OF PRINTING


Resampling and sharpening
To achieve better results, print files set to the print size you
desire at resolutions that are even multiples of the printers
resolution. For example, 360 ppi is ideal for 1440x2880-dpi
resolution and 300 ppi is ideal for 1200x2400-dpi resolution.
When you do this, the printer driver wont resample (add/subtract pixels) the file before printing but if you dont, the printer
driver will resample. This results in only a slight increase in the
detail a file contains and allows for sharpening after resampling.
Resampling softens images more than imprecise fileresolution specification. Avoid minor resampling to achieve
a desired print size; instead, redistribute file resolution to a
less-than-ideal resolution (not less than 180 ppi). When major
resizing is necessary, resample the file in Photoshop as little
as possible, and sharpen afterward.
Precise image sharpening is more important than precise
file resolution. Sharpening makes image details appear crisper.
Undersharpened images appear soft and oversharpening can
make smooth gradations appear granular.
File resolution
and print set
properly make
for a crisp print

Resolution is important once again. Higher-resolution files


sharpen more precisely than lower-resolution files. A compelling argument can be made for sharpening specifi cally for
substrate. Similarly, sharpening may be adjusted for print size.
Dont confuse the effects of resampling and sharpening with
the effects of file resolution.
Big vs. small
Its said that small prints require higher resolutions than big
prints and its true that higher resolution is required to reproduce the same level of detailpacked into a smaller space.
But both scale and detail are important factors gained from
making large prints.
The notion that large prints dont require such high
resolutions is based on a theory that theres an ideal viewing
distance for artwork: two to three times the diagonal dimension. To fill your field of view with a large image, youd have
to stand at a greater distance from it than you would from a
smaller imagea distance at which you cannot see dots or
lower resolution. (The human eye can make distinctions down
to .005", below which it fails to resolve differences.) In actuality, because people like to interact with artwork, the viewing
distance of artwork is variable: less than a few inches to more
than a few feet. So I recommend you make prints that hold up
at any distance, using the maximum resolution possible for
every size. (Note: Sharpening also gets into this debate, as bigger files with more pixels sharpen more precisely than smaller
files with fewer pixels.)

File resolution
and print set
too low: print
looks soft

Practical matters
When it comes to resolution, you can end up splitting hairs
unnecessarily. The differences between prints made with varying file resolutions within an acceptable range are quite subtle.
The rules to follow are: Set file resolution as close to optimum as
practical; resample as little as possible; and sharpen precisely.
The resolution of detail can have a profound impact on
image quality and its not just a technical concern; the level
and type of detail in images is also an aesthetic consideration.
Decide to use more or less detail in your images and to
resolve it more or less precisely, based on the kind of visual
statement you wish to make. It can have a profound impact
on image quality. Q

John Paul Caponigro, an inductee to the Photoshop Hall of Fame and author of Adobe Photoshop Master Class, is an internationally
renowned fine artist and authority on fine digital printing. Check out his workshops and get free PDFs with a free subscription to his
enews Insights at www.johnpaulcaponigro.com.
ALL IMAGES BY JOHN PAUL CAPONIGRO

w w w. p h ot o s h o p u s e r . c o m

Substrate impacts print resolution


The type of substrate you print on significantly impacts print
resolution. Glossy papers resolve more detail than matte. This
can be overstated with very smooth matte papers but is quite
significant with textured or fibrous substrates. Consequently,
glossy surfaces can benefit more from higher resolution files
than matte surfaces.

049

Creative Point of View


Photoshop from the creative to the practical
NBY K AT RI N EI SMANN

Photography 24/7
Many a photographer has set the alarm to be out at dawn or skipped dinner to shoot in dusks
golden hour, but what about between dawn and dusk? With High Dynamic Range (HDR) photography, you can shoot at the brightest hours of the day or darkest midnight hours.

in HDR photography that allows us to work in the brightest


sunlight and the darkest night (as shown). The HDR images
capture a wider contrast range from darks to lights than any
film or single-shot digital camera can, while maintaining detail
in the darkest shadows and the brightest highlights.

050

Seeing in HDR
Humans see in HDR, while most cameras dont. Imagine that
youre taking a stroll on a bright, sunny day and you decide
to step inside a church. After your eyes have adjusted for
the lighting change, you can see both the stained-glass
windows and the interior of the church. If you tried to take
a single picture of the interior, you could either expose for
the stained-glass window and the interior would be very
underexposed, or you could expose for the interior areas
and the stained-glass window would be overexposed or, as
some photographers say, blown-out.
With HDR images, you make an exposure for each tonal
range and combine them in Photoshop CS2 or CS3 to create
images that better mimic how we see. At first glance the shot of
the living room (seen below) seems rather innocuous; but notice
how bright it is outsideno single exposure could capture the
bright, sunny day and maintain the detail in the living room as an
HDR image does. This isnt simply a snapshot of a living room; its
a photograph of how Stanley actually sees the living space.

STANLEY FLOMIN

BRIAN NIELSON

p h ot o s h o p u s e r j u n e 2 0 07

KATRIN EISMANN

racticing the craft of photography includes understanding and applying essential fundamentals, such as
how focal length, shutter speed, and aperture choices
influence image composition. Then there are the rules of
photography that I often question as to how useful they really
are. Some of these rules include: You should avoid shooting in the middle of a bright, sunny day, as the light will be
too harsh; or The subjects of HDR photography should be
perfectly still or else the images wont register correctly.
At the School of Visual Arts in New York City, my students
and I gleefully ignore both of these rules to create exciting
images by taking advantage of the extended dynamic range

CREATIVE POINT OF VIEW


And this amazing image
includes the sun while allowing you to see the details in
the alley.
We see in HDR and now
our photographs can show
that, too.

STEP THREE: Move


the black point slider
to where the shadow
information starts in the
histogram and adjust
the Curve to refine the
tonality of the image
(as shown). Click OK to
create a 16-bit image
that you can sharpen
and retouch just like any
Photoshop file.
In this example, I photographed the bustling streets of
New York City on a bright, sunny day and rather than heeding the rule that HDR images should be motionless, the
image includes the energy of the city better than a single
frame would.

KATRIN EISMANN

KEVIN GIRONDA

Photographing and
processing HDR images
To photograph the source
images for HDRs, its recommended that you use a
camera with manual exposure and focus capability and a tripod. Set the lens aperture
to create the desired depth of field and meter for an average
exposure. If the scene contains extreme bright and dark
areas, use the shutter speed control to set the shutter speed
down four full f-stops (for example, 1/60 to 1/30 to 1/15 to
1/8 to 1/4 of a second). Now take one image at each shutter
speed, starting at the slowest speed and shooting up to normal exposure and four stops faster than normal (1/125, 1/250,
1/500, and 1/1000) for a total of nine images (as shown). The
slower shots will be overexposed and capture detail in the
shadows while the faster exposures will be underexposed,
which captures highlight information.
Follow along with these steps to process your images using
the Photoshop HDR feature:

STEP TWO: After enhancing the image, select Image>Mode>


16 Bits/Channel and in the HDR Conversion dialog, choose
Local Adaptation from the Method pull-down menu. Then
click on the arrow at the bottom of the dialog to show the
Toning Curve and Histogram.

STEP ONE: After downloading the images to your computer,


select all the exposures in Bridge and choose Tools>Photoshop>Merge to HDR. In the HDR interface, move the Set
White Point Preview slider to where the brightest highlights begin, and click OK to create a 32-bit image, which
has approximately 4 million shades of gray per channel.
Working in 32-bit allows a select number of options to
enhance the exposure and contrast range, including Image>
Adjustment>Levels, Exposure, Hue/Saturation, Photo Filter,
and Channel Mixer.

The best way


Whenever a rule, book, or teacher becomes too dogmatic or
insistent that theres only one way to accomplish something,
take a step back and consider that theres the right way of
doing something and then theres the best waythe best
way is the one that expresses your vision most successfully.
Go for it. Break the rules with reckless abandon, because
every time you press the shutter youre learning something
for the next photograph. N

Katrin Eismann is the author of Photoshop Restoration & Retouching and Photoshop Masking & Compositing. In 2005, she was
inducted into the Photoshop Hall of Fame and in 2006, she was named Chair of the MPS in Digital Photography department at the
School of Visual Arts in NYC (www.sva.edu/digitalphoto).

w w w. p h ot o s h o p u s e r . c o m

HDR photography includes many rules. Using a tripod


and never changing the aperture are next on my list to completely disregard to see what so-called mistakes will create.

051

Deke Space
Photoshop la Deke
QBY DEKE M cCLELLAND

The New and Much-Improved Bridge


Adobe Bridge CS3, the new version shipping with Photoshop CS3 and the other CS3 applications,
is as much of an improvement over the first version as the first version was over Photoshops
built-in File Browser. Heres a brief tour of the program to get you acclimated.

p h ot o s h o p u s e r j u n e 2 0 07

052

Workspaces
If you search around a bit, you may find yourself wondering
what in the world happened to that handy Filmstrip view,

which let you view a single row or column list of thumbnails


with a big preview in the center. The icon that used to live in
the lower-right corner of Bridge is mysteriously gone, as is
the ability to switch between horizontal and vertical filmstrip
orientations. Not to worry: The 1, 2, and 3 icons located in
the bottom-right corner of the screen allow you to access
all of the familiar, predefined workspaces. For example, if
you hover your cursor over the 2 icon, youll see that it says
Horizontal Filmstrip.
So, if thats what 2 means, why dont they call it what it
is, Horizontal Filmstrip, or at least give us a recognizable icon?
Because you can switch that 2 icon to anything you want
it to be. For example, if you prefer to have your thumbnails
arranged in a vertical column, click-and-hold on the 2 icon
and choose Vertical Filmstrip from the pop-up menu. From
now on, just clicking 2 will get you the Vertical Filmstrip view.
ISTOCKPHOTO/PASCAL GENEST

oull start by noticing that the new Bridge has a different color and interface. More importantly, everything
is now divided into panels (formerly palettes) that are
docked together, similar to the docked palettes in the new
Photoshop CS3 interface.
The top-left panel area contains
the familiar Favorites and Folders
panels, which allow you to navigate
inside Bridge and around your hard
drive and other media. Below is the
Filter panel, which lists attributes
associated with images in the
current folder. This allows you to
control which files you see in the Content panel; for example,
here I have 1 Camera RAW image, 15 JPEGs, 2 PSDs, and 1 TIFF.
If you want to see PSDs by themselves, click to the left of
Photoshop Document in the Filter panel. A check mark will
appear and the Content panel will show only PSDs (along with
any subfolders that live inside this folder). To add other types
of files, click next to their file type entries. If you want to return
to seeing only one category, press-and-hold the Option (PC:
Alt) key and double-click next to that entry. To see everything
again, turn off all the check marks.
You can use this same technique for any of the other
attributes, such as Date Created, Orientation, or Aspect Ratio.
Note that Copyright Notice lives here too, which is handy for
designers, art directors, and people like me who are trying to
keep one copyright holder separate from another in a large
stable of artists and photographers.
On the right side of the interface (by default) are the
Preview, Metadata, and Keywords panels. The Preview panel
shows a large version of the selected image. The others allow
you to view and modify detailed information about your
image file or other documents.

You can also generate your own custom workspace in


Bridge. Heres a way to build your own custom Vertical Filmstrip view: Start by setting your workspace to the Horizontal
Filmstrip, then peel open an empty panel area by dragging
out the hidden area on the far-right side of Bridge. (Hover
your cursor over the far-right bar until you get a two-sided
arrow and then drag to the left.) Open the Metadata and
Keywords panels by choosing them from the Window menu,
and drag each by their tabs to the bottom-left dock, so they

add nonadjacent images, Command-click (PC: Ctrl-click) on a


thumbnail. You havent lost your access to the Loupe, either.
It remains available for any one of your selected images in the
Preview panel.

This do-it-yourself approach to customizing Bridge replaces


the old (and in retrospect, unsatisfactory) hard-wired options
of the previous version. Instead of being stuck with a particular filmstrip view, you can build your own and save it as
a workspace. Choose Window>Workspace>Save Workspace
and enter a memorable name in the dialog. You can then
assign this workspace to one of the number icons at the bottom right of the screen.

Stacking images
Another new feature in Bridge allows you to group images
together. You can create stacks by selecting images in the
Content panel and choosing Stacks>Group as Stack or pressing Command-G (PC: Ctrl-G). To expand the stack, click on the
number in the upper left-hand corner of the stacked thumbnail (our example shows 6 because there are six images in
the stack we created). Note that stacking them together still
allows you to use the Loupe on the topmost image in the
Preview panel.

The Preview panel


The Preview panel also has a few new treats in store; for example, you can zoom in on a photo to check out the focus at 100%
without having to open it in Photoshop. Just click on the image
in the Preview panel (youll notice that your cursor looks like
the Photoshop Zoom tool), which brings up a magnified detail
inside of a Loupe, as demonstrated here. You can move that
Loupe around, and wherever the sharp corner of the Loupe is
pointing becomes the center of the magnified area. (Note: If
you move the Loupe too close to an edge, it rotates so that it
remains inside the Preview panel.)
Increase the
magnification
of the Loupe by
pressing the +
(plus) key. This
takes you from
100 to 200, 400,
and finally 800%.
The (minus) key
lets you zoom
out. Alternatively, you can zoom in or out by using the scroll
wheel on your mouse. The label 1x, 2x, 4x, or 8x will appear
next to the filename to indicate the active zoom level. To
dismiss the Loupe, just click in it.
The Preview panel also lets you compare multiple images
side-by-side or above and below. Shift-click an image thumbnail in the Content panel to add it to the Preview panel. To

ISTOCKPHOTO/DAVID POLITI

share space with the Filter panel. You can then add a vertical
filmstrip by dragging the Content panel from the bottom of
the screen to the right-hand panel area. Bridge automatically
organizes the thumbnails into a tidy column (as shown).

Slideshow mode
Ive also come to love the new Slideshow mode. Choose
View>Slideshow (Command-L [PC: Ctrl-L]) to enter the slide
show and watch it play automatically. Or better yet, click on
a slide to zoom in to 100%. Then click-and-drag to scroll the
image and examine other details. As with the Loupe function,
you can zoom in and out by pressing the + or keys, respectively, or by using the mouse scroll wheel. The difference is
that youre not seeing a tiny detail of your image; youre seeing
a large window into the whole thing.
More than ever before, the revamped Bridge is a splendid
way to preview and organize the images in your library. Q

Deke McClelland is author of Adobe Photoshop CS2 One-on-One (Deke Press/OReilly Media) and host of the online video series PhotoDeke McClelland is author of the full-color Adobe Photoshop CS2 One-on-One and Adobe InDesign CS2 One-on-One (Deke Press/
shop CS2 Channels & Masks and Photoshop CS3 Beta One-on-One (www.lynda.com).
OReilly Media) as well as hundreds of hours of video training for Total Training. Go to iTunes and check out Dekes video podcast, dekePod.

w w w. p h ot o s h o p u s e r . c o m

DEKE SPACE

053

Photoshop for Educators


Real lessons in Photoshop for teachers and students
QBY JAN K AB I LI

Using Photoshop CS3 with Dreamweaver CS3


Although Photoshop is often taught as a standalone application, outside of the classroom, designers
rarely use Photoshop alone. The Adobe-Macromedia merger and the recent release of Creative Suite 3
applications has made it easier than ever to use Photoshop with other site-design applications.

or example, a website designer may enhance photographs or create composite images in Photoshop for use
in a site that is being developed in Dreamweaver and
Flash, prototyped in Fireworks, and tested in Device Central
for display on a cellphone or PDA.
Another important example of cross-product integration
in CS3 is this seamless workflow between Photoshop CS3
and Dreamweaver CS3. Your students can now bring a native
Photoshop file into Dreamweaver, automatically optimize
the file for the Web during import, and later re-open the
source file for further editing in Photoshop. Follow these
steps to teach this easy and practical workflow. [Note: This
tutorial assumes you have access to (and basic knowledge
of) Dreamweaver CS3.]

054

JAN KABILI

p h ot o s h o p u s e r j u n e 2 0 07

STEP ONE: First, open a page in Dreamweaver. (Youll use


a sample page that comes with Dreamweaver for this
exercise, but normally youd open a page from an existing
Dreamweaver site from the Dreamweaver Files panel.) From
the Welcome Screen, choose Create from Samples>Starter
Page (Theme)>Travel-Product Page, and click Create. (If
youve already disabled the Welcome Screen, choose File>
New and then in the New Document dialog, choose Page
from Sample>Starter Page (Theme)>Travel-Product Page,
and click Create.)
In the Save As window, create a new folder on your
desktop, and click Save. In the Copy Dependent Files window,

click Copy. You can customize this page by typing over the
headlines and text with content of your own choosing.
[NAPP members may download this image and a PDF of this
column at www.photoshopuser.com/members/magcenter/
2007.php.]
STEP TWO: In Photoshop, open a native Photoshop PSD file
that has several layers. The PSD we used here has a pixel-based
photo layer, a type layer with a drop shadow layer effect, and
a shape layer. Choose Select>All or press Command-A (PC:
Ctrl-A). To copy all the layers, choose Edit>Copy Merged, or
press Command-Shift-C (PC: Ctrl-Shift-C). If your file had only
one layer, you would choose Edit>Copy.
STEP THREE: Next, optimize the file in Dreamweaver. Click on
the image placeholder on the sample page, and press Delete
(PC: Backspace). Choose Edit>Paste or press Command-V
(PC: Ctrl-V). The Image Preview dialog opens in Dreamweaver.
This dialog functions like the Save for Web dialog in Photoshop.

Click the 2-Up or 4-Up icon at the bottom of the Image Preview dialog to see several views of the file as it will look after
its optimized for the Web. Click one of the image previews
and choose settings that affect only that preview. You can

PHOTOSHOP FOR EDUCATORS


choose different settings for the other preview(s) to visually
compare the results. The fastest way to work is to select
one of the built-in collections of settings from the Saved
Settings menu and then use the individual controls to tweak
those settings. Your goal is to make the optimized image as
small as possible, while maintaining a quality of appearance
that you find acceptable. This is always a trade-off because
the quality of a file deteriorates as its file size decreases.

a Dreamweaver page. Try to get in the habit of viewing your


site assets in Adobe Bridge CS3, locating a PSD visually in
Bridge, and dragging-and-dropping the PSD from Bridge into
Dreamweaver. Yet another way to bring PSD files into Dreamweaver is to use the Insert>Image command in Dreamweaver.
All of these methods take you to the Image Preview dialog,
where you can optimize and save the image just as you did
with the copy-and-paste method described above.

STEP FOUR: The illustration were using here is primarily


photographic, so JPEG is the best choice of format. Choose
Saved Settings: JPEG Better Quality. Then try lowering the
Quality percentage slider (at the top left of the dialog) to get
the file size down. Keep your eye on the image quality in the
selected preview and the file size reported relative to that
preview. To lower the file size further, you can try increasing the Smoothing control slightly or turn off the Sharpen
Color Edges checkbox, being careful that the image doesnt
get too blurry. When youre judging the appearance of the
image, be sure the zoom menu at the bottom of the dialog
is set to 100%. When youre satisfied with the result, click OK.

Re-open the Photoshop file for editing


Inevitably, you or your client will want to change something
about the image you placed on the page. In CS3, its easy to
re-open the source PSD in Photoshop for further editing.

STEP TWO: Back in Dreamweaver, click on the image on the


page. Press Command-V (PC: Ctrl-V) to paste. The JPEG copy
of the image is automatically updated to reflect the changes
you made to the source file in Photoshop. This round-trip
editing makes it all the more efficient to work with Photoshop files in Dreamweaver CS3. N
Alternative methods
Copy-and-paste is not the only way to bring a native Photoshop file into Dreamweaver. Alternatively, you can dragand-drop a PSD file from anywhere on your hard drive into

Jan Kabili is a popular Photoshop author and educator. You can


see her Photoshop video podcast at http://photoshoponline.tv
or subscribe to Photoshop Online at www.itunes.com. View her
online training videos at www.lynda.com.

w w w. p h ot o s h o p u s e r . c o m

STEP FIVE: In the Save Web Image window, navigate to


the folder where you saved the HTML file and click Save to
make a JPEG copy of the PSD source file. (When youre working in your own Dreamweaver site, its important to save to
the site root folder. Image files are often placed in an images
folder inside the site root folder.) In the Image Description
dialog, type a couple of words to describe the image for
visually impaired visitors. Click OK.
The optimized image appears on the page. To preview
the page in a Web browser, click the Preview in Browser icon
on the Document toolbar, and choose a local browser.

STEP ONE: Click once on the image on the Dreamweaver


page. In the Properties inspector, click the Photoshop CS3
icon in the Edit area. Photoshop launches if its not already
running and the original PSD source file opens. Make
a change to the PSD in Photoshop. In this example, we
changed the color of the text and deleted the drop shadow
on the Type layer. Press Command-A (PC: Ctrl-A) to Select
All, and press Command-Shift-C (PC: Ctrl-Shift-C) to copy the
merged layers.

055

Beginners Workshop
Learning Adobe Photoshop from the ground up
NBY DAV E C R O S S

Opening JPEGs in Camera Raw


Until now, Adobe Camera Raw was only available to people with cameras that specifically
captured images in RAW format. Thanks to Photoshop CS3, now anyone can experience the
wonderful, nondestructive editing offered by Camera Raw, even with JPEG and TIFF files.

ere going to use a JPEG photo, but the same


process works with TIFF files. There are two ways
to open JPEGs in Camera Raw: on a case-by-case
basis through the Open command; or by opening all JPEGs
in Camera Raw by setting your Photoshop Preferences
(select File Handling and click on the Prefer Adobe Camera
Raw for JPEG Files checkbox). Of course its your choice but
remember that if you change your Preferences, each and
every JPEG will open in the Camera Raw dialog.

p h ot o s h o p u s e r j u n e 2 0 07

One of the new options


in Camera Rawand not in
Photoshopis the Vibrance
slider. This new control is
similar to Saturation but only
affects colors that need to be
saturated. For example, in a
photo of a person with a blue sky, the sky will be saturated
but skin tones wont increase in saturation.

On a Mac, use File>Open, select your file in the Open


dialog, then choose Camera Raw in the Format menu. On the
PC, use File>Open As and choose Camera Raw from the Open
As menu. The JPEG image opens in Camera Raw.
In the Camera Raw dialog, youll find that the majority
of the editing controls are available. In fact, the White
Balance menu is one of the notable differences: there are
only three choices when you open a JPEG, compared
with nine choices when using RAW files.

056

continued on p. 58

BEGINNERS WORKSHOP
Camera Raw to smart object
To take things up a notch, you can open the JPEG as a smart
object in Photoshop. Click on the workspace link (the one that
indicates the current size of the image at the bottom of the
window) and in the dialog, check the Open in Photoshop as
Smart Objects box.

p h ot o s h o p u s e r j u n e 2 0 07

When the document opens in


Photoshop, the layer
will have the Smart
Object icon, and
you can edit the
original in Camera
Raw by simply
double-clicking on
the layer thumbnail.
Lets double-click on the thumbnail and the JPEG will
open in Camera Raw. Now well check the Convert to Grayscale box and click
Open to convert the
file to a black-andwhite image, while
preserving the color
in the original file.

A Camera Raw advantage


Another huge advantage of opening a JPEG in Camera Raw
is cropping. In Photoshop, if you crop a document and save
it, the information outside the cropped area is gone. In

Camera Rawif you open the file as a smart objectthe


crop is nondestructive.
Here we opened another JPEG in Camera Raw and
selected the area we wanted to crop. After opening the
file as a smart object (click Open Object), it opens in the
cropped size we indicated.

If you then decide that you want


to crop a little differently, again just
double-click on the Smart Object
thumbnail to re-open the file in
Camera Raw. Use the Crop tool to adjust the cropping area
and click Done, which will display the newly cropped file.

Should you open every JPEG in


Camera Raw? The answer isit
depends. Theres no question that
Camera Raw offers some great additional editing features
that arent available when you open a JPEG in Photoshop.
On the other hand, for many day-to-day editing functions,
you may not need those extra options in Camera Raw. The
bottom line is that you should decide based on your images,
but at the very least, make sure you experiment with opening
JPEGs in Camera Raw so that you understand the great possibilities this offers. Q
ALL IMAGES BY DAVE CROSS

058

Digital Camera Workshop


Creative control with digital capture and Photoshop
QBY JIM DiVI TALE

Communication Is Key
With digital photographys varying range of purposes, communication between photographer and
client is more important that ever. These multiple usages can present a problem downstream if the
right questions arent asked, and proper workflow decisions are not made before the project starts.

digital photographer needs to be prepared for the


powerful versatility of digital media; for example, an
image produced for a magazine ad may be used for a
website, catalog, sales meeting presentation, and trade show
displayall at the same time.
In the past, when a photographer shot and delivered film
as the final product, there werent as many questions up
front. Large-format transparency had a wide range of use
and could be scanned at any resolution needed. When the
photographer presented film on a color-correct light box,
the client picked the best images and the photographer was
finishedwhat happened after that didnt have much effect

p h ot o s h o p u s e r j u n e 2 0 07

ASK THE RIGHT QUESTIONS

060

Before a job starts with a new client, get some questions


answered up front; for example:
Are you working on a Mac or PC?
Which versions and what software are you
planning to use?
Whos handling the separations and printing?
Are there any special requirements from the
printing company for color settings?
Are the monitors that will be used to view the
final photography color-calibrated with custom
monitor profiles?
What are your color-management policies in
your workflow set to?
Have you thought about additional usages for
these images?
And one of the most important questions (thinking
of all the ways an image can be used) is: Whats the
largest possible size youll need the image?

on the photographer. The printed pieces never looked


quite as good as the transparency but it didnt reflect badly
on the photographer.
Digital capture has made things better but more difficult at the same time. Without the film to compare to,
final printed versions can really change a great deal from
the original look, as the images are passed from client to
prepress to printer. From a photographers point of view,
the last person to handle the files is most responsible for
managing color and quality; more than anyone else in the
chain. Its important to have a checklist to follow.
Color management is key
Photographers and graphic artists should always try hard to
be good color-management practitioners. Thumbnail drawings and layouts arent usually color-managed documents,
so it pretty much starts with the photographer. And it really
starts with the photographer and graphic artist picking a
color space to work in that both agree to. If you dont have
proper color management set up from the beginning, its
like going into an important business deal with a company
in a foreign county and not having a proper translator to
negotiate the deal.
Its best not to guess at the color settings and hope
for the best. The photographer and graphic artist should
have their monitors profiled with a colorimeter and use a
color space thats agreeable to everyone involved. As the
image moves along, the fewer changes to the overall color
space the better. Sets of RGB numbers that represent a very
specific color in AdobeRGB 1998 have different numbers in
Colormatch and sRGB. Keep the converting to a minimum.
Teamwork makes great things happen. If your clients
equipment isnt properly color managed and their offices
are in the local area, why not offer to go over and profile
their monitors? This will show that youre willing to go out
of your way to ensure that the color management in the
project goes well, and assures that everyone is looking at

DIGITAL CAMERA WORKSHOP

Communicate with prepress and the printer


Now that all the creatives are speaking the same language, its
time to talk to the prepress and printer. Check if they have any
requirements (or requests) so that the files turned in to them
are exactly what theyre looking for. It could be a disaster to
find something out at the end of a project that may affect
the photographywhen it could have been more easily
controlled with a little communication at the project start.
If files are properly tagged with their profiles, the prepress
and printing technicians can perform their jobs more effi ciently. Fewer materials are wasted, which allows everyone
to get the most out of the established job budget. Poor
communication can lead to multiple proofs trying to get
the color correct, which of course leads to additional charges
in prepress and printing that might have been avoided.

Keep your files safe


Once a job is delivered, the files should be properly archived
on write-once media and stored in multiple places. Keeping
files on hard drives alone can be a problem if the hard drive
decides to quit unexpectedlyand usually at the worst possible time. Thats when your client calls you from the press
telling you that they need a copy of a file you shot for them
years agoright now! Think how impressed theyll be when
you can pull the correct file from your organized archives
and email it over to them, with no problem.
As a creative service, working together as an effective team will
create long-term relationships and quality work that make
everyone look good, with a satisfied client. Q

JIM DIVITALE

Size matters
Todays digital cameras have limitations on how big images
can be and still look crisp. There are many interpolation
techniques and third-party software that can enlarge
images to huge dimensions; however, its still a good idea
to ask how large an image the client could possibly go to,

so therell be no surprises. Sometimes a client might fail to


communicate until after a job is finished that they have a large
trade show booth and the image would sure look good there
as a 12' print!
I know, its not really the photographers fault if the client
didnt mention this at the beginning of the project. But,
if you take the time to ask, then youre sure to look good.
Watching out for the other guys money is something that
will be remembered when the next project is ready to be
assigned. As we all know, repeat clients are a key factor to
a successful digital photography business.

Communication and teamwork equals success

Jim DiVitale is an Atlanta-based photographer and instructor specializing in digital photography. His clients include Mizuno USA, Carters,
Genuine Parts Company, IBM, TEC America, Scientific-Atlanta, and Coca-Cola. Check out his new website at www.divitalephotography.com.

w w w. p h ot o s h o p u s e r . c o m

the images under the same controlled conditions. Its harder


to try and analyze color-management problems after the
project has already started.

061

The WOW! Factor


Creative timesaving tips and techniques for the phenomenal Photoshop
Q

LINNEA DAY TON AND CRISTEN GILLESPIE

Spotlight on Lighting Effects


When were given an image that doesnt have a strong focal point or enough drama, the Lighting
Effects filter can come to the rescue by spotlighting a person, product, or activityeven adding color
and shine. Using Smart Filters in Photoshop CS3 breathes new life into this virtual lighting studio.

he controls in the Lighting Effects filter arent completely


self-explanatory, and the preview is small, so it can be
difficult to judge the results until after youve closed
the dialog. However, there are tricks to make this oftenoverlooked and underused filter easier to work with, whether
youre using Photoshop CS3 (as illustrated here) or CS2.

p h ot o s h o p u s e r j u n e 2 0 07

GAREN CHECKLEY

STEP ONE: Because theres likely to be some trial and error


in getting the lighting the way you want it, the first step is to
preserve the original image, in case you need to go back to it.
Open our theater image or one of your own RGB photos that
doesnt have a strong focal point.

062

Target the layer you want to work with (click its thumbnail
in the Layers palette). In CS2, make a duplicate layer to work on
(Command-J [PC: Ctrl-J]). In CS3, choose Filter>Convert for Smart
Filters; now youll be able to apply the filter as an editable layer
on its own, without permanently changing the image.
[NAPP members may download the image used in this tutorial
at www.photoshopuser.com/members/magcenter/2007.php.]
STEP TWO: Choose Filter>Render>Lighting Effects. Refer to
the dialog at the top right as you adjust the settings. Beginning with the Default lighting style (chosen in the Style menu
at the top of the dialog), position and aim the light as follows:

In the preview is an oval that represents the light. Drag its


center point so the pool of light falls on your subject. One of
the four handles on the oval, attached to the center point by
a line, controls the placement of the light source. Drag this
handle to a position above and to the right of the subject.
Now drag this and the other three handles until the pool of
light is a size you like; use the center point to reposition the
light if needed.
STEP THREE: If you want to add color to the light, nows
a good time. Choosing colors before you adjust the focus
and intensity of the spotlight can save readjusting later to
compensate. Click the upper swatch (in the Light Type section
of the dialog) and choose a color from the Color Picker; for
our theater image, we chose a rosy pink. We also tinted the
ambient light slightly by choosing a lighter pink for the lower
swatch (in the Properties section of the dialog). To finish the
spotlight, move the Intensity slider (to control the brightness
of the light) and the Focus slider (to control how much the
pool of light spreads to fill the oval). Here, we set Intensity
at 70 and Focus at 45.

THE WOW! FACTOR

STEP FIVE: When you see the result at full size, you may want
to tone it down by blending the filter treatment with the
original lighting. We reduced the Opacity of the filter effect
to 85% but you could also try increasing the theatrical look
with a high-contrast blend mode such as Overlay, or choose
Lighten or Darken for a more subtle effect. In CS3s Layers
palette, double-click the slider icon at the far right of the
Lighting Effects entry, then make adjustments in the Blending
Options dialog and click OK. In CS2s Layers palette, set the
Opacity and blend mode for the filtered layer.

STEP SIX: Want to add another light to brighten a dark spot?


Heres where the versatility of Smart Filters really shines.
In CS3 were free to experiment as much as needed with
lighting placement, strength, number of lights, colors, blend
mode, and opacity, either just after we close the Lighting
Effects dialog or even weeks later. In the Layers palette, simply
double-click the Lighting Effects entry for the Smart Filter
layer to reopen the dialog with the settings you used. Now
you can make your changes.
We dragged the Lightbulb icon from below the preview
to add a new light source above the leftmost cast member.
We chose Omni from the Light Type pop-up menu (for a
lamp-like effect that radiates light evenly in all directions)

and made the light a pale yellow. We dragged a perimeter


handle inward to shrink the light and reduced Intensity to 15.
The settings in the Properties section of the dialog affect all
the lights on the layer sounless you also want to change
your spotlights settings at this timeleave the Properties
settings alone.

In CS2, adjusting the lighting is a bit more complicated.


To make changes immediately after you close the Lighting
Effects dialog, you can simply undo the filter (Command-Z
[PC: Ctrl-Z]), reopen the Lighting Effects dialog (the shortcut
for opening the last filter with the settings used is CommandOption-F [PC: Ctrl-Alt-F]), and readjust the settings. But if
youve closed and reopened the file youll need to use a
different method: Turn off visibility for your filtered layer and
make a new layer from the original image. Then choose
Filter>Render>Lighting Effects, choose the custom lighting
style you saved, make your changes, and save the new
settings. Close the dialog and adjust the Opacity and blend
mode of the new layer if you like. N

Linnea Dayton and Cristen Gillespie are authors of The Photoshop CS/CS2 Wow! Book (Peachpit Press).

w w w. p h ot o s h o p u s e r . c o m

STEP FOUR: Now work in the Properties section to control


the ambient light and the way your subject reflects the
lighting. Increasing Gloss to 50 adds some theatrical shine
and setting Material to 35 adds a touch of sparkle. Raise
Exposure slightly to 8 and Ambience to 15 to prevent the
rest of the image from disappearing into the shadows.
If youre working in CS2, take a moment to preserve
your Lighting Effects settings: Click the Save button near
the top of the dialog and give your custom lighting a
name that will help you identify it later. Its name will be
added to the dialogs Style menu. In CS3, the Smart Filter
layer will automatically preserve your custom settings as
part of the image file so it isnt as important to save your
lighting style. With the lighting all set, click OK to exit the
filter and view the results in the image window.

063

Production Clinic
Gain expertise on scanning, prepress, Photoshop, and digital file prep
NBY TAZ TALLY

Correcting Images with Super Curves


Take advantage of the new super Curves feature in Adobe Photoshop CS3 to streamline your imagecorrection workflow. You can accomplish all the data viewing, highlight- and shadow-point determination, and complete tonal-range adjustment with this new feature. Read on to see how it all works!

p h ot o s h o p u s e r j u n e 2 0 07

064

Super Curves image adjustment


To see how the new version of Curves works, lets adjust
an image.
STEP ONE: Open and duplicate an image (Image>Duplicate).
(For our example, we used this image shot near my home in
Homer, Alaska, looking west across Cook Inlet toward the glacier
and snow-covered active Iliamna volcano that rises from sea
level to more than 10,000 feet!)
If its not open, activate your Layers palette (Window>
Layers or F7). Click on the Create New Adjustment Layer icon
(half-black/half-white circle) at the bottom of the Layers
palette and choose Curves from the menu.

Note: You may have


to move your image
to make room for the
Curves dialog. You
need to be able to see
both when you start
to locate highlight and
shadow points.
STEP TWO: With your
Curves dialog open,
open the Curve Display
Options area and configure it as follows:
Click on the Light button to display 0255
tonal values from right
to left. This will place
the highlight values
on the right end of the
horizontal scale.
Click the left graph
display button to present a simpler grid that
will make it easier to
locate the quarter- and
three-quarter-tone
graph points.
Turn on the Channel Overlays to display any individual
channel curve adjustments on the RGB channel.
Turn on the Histogram to display the images histogram data
distribution on the RGB and individual channels.
Turn on the Baseline to show the initial curve position, as
well as any adjusted curve shapes, on the RGB and individual
channel displays.
Turn on the Intersection Line to provide a crosshair display
whenever you click-and-drag a point on a curve.

TAZ TALLY

n previous versions of Photoshop, correcting images often


involved using a combination of Levels and Curves. Levels
provided an editable histogram that was handy for adjusting
highlight and shadow values; its histogram provided visually
helpful information for seeing the distribution of the image
data and in particular, the location of highlight and shadow
data. You could easily accomplish simple brightness and contrast adjustments by adjusting the position of the highlight and
shadow sliders on the master (RGB) histogram. Also, highlightand shadow-based color-cast correction could be performed
by adjusting the highlight and shadow sliders on individual
color channel histograms. In addition, you could find the lightest highlight and darkest shadow points by pressing the Option
(PC: Alt) key while dragging the highlight and shadow sliders.
Of course, these corrections could be performed in Curves,
but there was no histogram display to help guide usCurves
was strictly a numbers-based adjustment. Because of its
flexible, multiple-control-point, adjustment capability, Curves
has always been the preferred tool to affect the middle tonal
regions and to adjust the highlight or shadow data beyond
the end of the histogram.
Well, as noted above, you can do all this data viewing,
highlight- and shadow-point determination, and complete
tonal-range adjustment using the new super Curves feature.

PRODUCTION CLINIC

STEP FOUR: Do the same with the Shadows point to find the
darkest shadow detail area (the right foreground cobbles). Note:
Unlike Levels, in Curves you can show both points without pressing a key, which allows you to perform the Eyedropper placement in the next step faster and easier. Simply click on either the
highlights or shadows point to activate one view or the other.
STEP FIVE: Now, double-click on the highlight (far right) Curves
Eyedropper tool. In the Select Target Highlight Color dialog, tab
to the RGB value areas and enter R:242, G:242, B:242 to set a 5%
neutral white highlight target value in the RGB channel. Click OK
to close the dialog. Next, double-click on the shadow Curves
Eyedropper tool (far left) and in the dialog, tab to the RGB value

areas and enter R:12, G:12, G:12 to set a 95% neutral black shadow
target value in the RGB channel. Click OK.
STEP SIX: In the Curves dialog, click on the Highlights point on
the curve to activate the highlight clipping view. Click on the
highlight Eyedropper to activate it, and then click on the bright
highlight area in the image.
STEP SEVEN: Then, click on the Shadows point in the curve to
activate the shadow clipping view (which will have changed
after using the highlight Eyedropper). Click on the shadow
Eyedropper to activate it, and click on the original dark shadow
area in the image.
STEP EIGHT: Turn off
the Show Clipping view
and turn on the Preview
checkbox to view your
corrected image. View the
resulting histograms and
the adjusted curves on the
RGB and individual color
channels. Note how the initial (baseline) curve (shown
in gray) appears as well
as the adjusted curves.
Also note the adjusted
Highlights and Shadows
point locationstheyre
all right here in the super
Curves dialog.
STEP NINE: Return
to the master RGB
channel and apply
an S-shaped curve
at the quarter- and
three-quarter-tone
points to enhance
contrast (notice the
intersection line).
Click OK to close
the Curves dialog.
Tip: Make a copy
of your final image
and flatten it (Layer>
Flatten Image), then
Save your PSD layered
image, in case you
need to edit it later.
And heres our
final image. N

Taz Tally, Ph.D., a nationally known electronic publishing consultant, provides training on a wide range of electronic publishing topics,
including scanning, Photoshop, prepress, and digital file preparation. Hes also author of Photoshop CS2 Before & After Makeovers.

w w w. p h ot o s h o p u s e r . c o m

STEP THREE: Now view


the histogram data (this
is the same data visible in
the Levels dialog) on the
RGB and each individual
channel (Red, Green, and
Blue). Note that theres a
large blank area on each
highlight end, and a
smaller, but still significant, lack of data on each
shadow end as well.
Turn on the
Show Clipping
checkbox in
the dialog, then
click-and-drag the
Highlights point
to the left until the
highlight data you
want to set as your
diffuse highlight (in
our example, the
snow on Iliamna in
the background) begins to light up on the black background
(this is the same display youd achieve if you held down your
Option [PC: Alt] key and dragged the highlight slider in the
Levels dialog).

065

Mastering Photoshop with Video


Using Photoshop to create professional-looking videos
NBY G LEN STEPHENS

Understanding Pixel Aspect Ratios in Photoshop


In Photoshop, one of the most difficult concepts to understand and work with correctly is pixel
aspect ratios. Beginning with Photoshop CS, Adobe provided support for nonsquare-pixel video
images; however, with this feature came a lot of misunderstanding on how to use it.

f you dont embrace the correct workflow, this feature


will work against you instead of for you. Lets take a closer
look at what nonsquare pixels are and the correct way to
harness pixel aspect ratios in Photoshop.

The Photoshop
workaround
There are two
ways to work
around this
problem: the
pre-Photoshop
CS method
(my preferred
method) and
the post-Photoshop CS method. The pre-CS method is to
work with images that have either the width or the height
equal to the video width or height and then set the other
side to a value that makes the image a true 4x3 ratio. For
example, you could work with documents in Photoshop
that are either 720x540 or 648x486. Both of these sizes
have a 4x3 ratio. Then, to counteract the scaling that takes
place when the image goes to video, you resize either of
those formats to 720x486. The image is stretched in the
opposite direction than it will be stretched when it goes to
video. The result is that you have canceled the effect of the
scaling that takes place when the image is forced to fit a
4x3 video frame.

066

ISTOCKPHOTO/VLADIMIR POPOVIC

p h ot o s h o p u s e r j u n e 2 0 07

Whats a nonsquare pixel?


Nonsquare pixels refer
to how images, and in
turn pixels, are scaled to
fit a video frame. There
are different image sizes that correspond to different
video formats. If youre referring to NTSC or PAL standard
definition video, all of these different sizes must display
on your standard definition TV in a 4x3 frame. Nonsquare
pixels come from the different video sizes being forced
or scaled to fit into the 4x3 frame. For example, NTSC D1
has two different nonsquare-pixel frame sizes: 720x486
for a standard video frame, and 864x486 for an anamorphic video frame. Neither of these frame sizes is a perfect
4x3 aspect ratio. So what happens is that the images get
scaled without constraining and the result is an image
thats stretched in one direction. This is referred to as a
nonsquare pixel image.

Original image in Photoshop

Nonsquare-pixel image when sent to video

MASTERING PHOTOSHOP WITH VIDEO


The post-CS method is to use the Photoshop feature called
Pixel Aspect Ratios, located in the Image menu. The idea is to
tell Photoshop that a particular canvas or image is nonsquare
and has a pixel aspect ratio other than 1.0. What we want to
focus on is the proper workflow and the correct way to use
pixel aspect ratios in Photoshop.
Pixel aspect
ratios (PAR)
The first place
youll encounter pixel aspect
ratios is in
the File>New
dialog. When
you create a
new canvas
and set the Pixel Aspect
Ratio according to the
video format youre using,
Photoshop knows that anything you draw, paste, or put in
this canvas needs to be stretched to counter the stretching
that will take place when the image goes to video. Once this
new document is created, youll also see that next to the title
of the document at the top, the image is marked as [scaled].
Because its assumed that you want to view your image the
way it will actually look when it goes to video (as opposed
to stretched), Photoshop scales the image to counteract the
stretching its doing, which in turn counteracts the stretching
that will take place when the image goes to video. Phew,
that was a mouthful!

PIXEL ASPECT RATIO (PAR) DOS AND DON'TS


Dos
Its okay to set a video PAR in the File>New dialog.
Its okay to set a video PAR under the Image>Pixel
Aspect Ratio menu on an image that has been captured
from video (i.e., a frame grab from your edit system).
Donts
Do not use Image>Pixel Aspect Ratio on digital pictures,
scans, images from the Web, or any other artwork.

Rules on PAR
The rules are simple. Choosing Image>Pixel Aspect Ratio
and selecting a nonsquare format for a video still from a
video frame grab tells Photoshop that these images came
from video and have nonsquare pixels. Photoshop can then
work with them accordingly and will scale them so they
look correct while youre working with them. This scaling
can be turned on and off by choosing View>Pixel Aspect
Ratio Correction. The reason you dont want to change the
pixel aspect ratio on any of the other images is because
they arent nonsquare images. Theres a common misconception that its okay to set the pixel aspect ratio on digital
photos if youre preparing them for use in video. Thats
simply incorrect.
Use the following steps if you have digital photos that
you want to get ready for video by using pixel aspect ratio
in Photoshop:

As complicated as that sounds, the intention is that all this


happens in the background and you as a designer dont need
to worry about any of it. Now the confusing part is when do
you need to tell Photoshop the image is nonsquare? The
only two places this can be set are in the File>New dialog, as
discussed, and under Image>Pixel Aspect Ratio.

Using these steps, Photoshop will know you have an original


square-pixel image that you want to use in a nonsquare-pixel
video. It will do the appropriate conversion of the file so that
it displays correctly on video. Remember, anytime you want
to get layers, images, or anything in Photoshop into or out of
a nonsquare-pixel document, you need to copy-and-paste or
use the Move tool to move them from one file to another.
If you remember these dos and donts and live by them, your
images will look correct in Photoshop and on a video screen.
And, of course, youll be on PAR! (Sorry, I couldnt resist!) N
Glen Stephens, developer of the Tools for Television, Photoshop
Toolbox (www.toolsfortelevision.com), has more than 10 years
experience in the broadcast video industry. His company, Pixel Post
Studios, provides training and design services for the industry.

w w w. p h ot o s h o p u s e r . c o m

Open the digital photo, scan, graphic, image, etc. in Photoshop.


Create a new video document (File>New) and pick the appropriate video format. This creates a video document that has
the correct pixel aspect ratio.
Put the original image in the blank video canvas by either
copying-and-pasting it or using the Move tool (V) to transfer
it from one document to the other.

067

Digital Photographers Notebook


Practical tips for professional photographers
NBY KE VIN AMES

It All Looks Better in Black and White


Photographers love color, but they have a warm spot in their hearts for striking, black-and-white
images. Photoshop has several ways to change color into black and whitesome very good.
Now, Adobe Photoshop CS3 adds a new tool thats beyond very good; its extraordinary!

p h ot o s h o p u s e r j u n e 2 0 07

he Black & White adjustment layer (Image>Adjustments>Black & White) is the Channel Mixer all grown-up,
with an advanced degree in ease of use. Its best to
use layers (instead of one-time adjustments) so you can
change your mind because once you see the power of Black &
White, youll have a hard time deciding!
[NAPP members may download the gazebo image from
www.photoshopuser.com/members/magcenter/2007.php.]

068

STEP ONE: Open your


image in Photoshop
CS3. We used this earlymorning photograph
of Lake Clara Meer in
Atlantas storied Piedmont Park thats full of
spring color.
Click on the New
Adjustment Layer icon
(the half-black/halfwhite circle at the bottom of the Layers palette) and choose Black &
White from the menu.
In the dialog, click Auto
and the photograph
instantly becomes a nice black-and-white image. If that were
all the adjustment layer could do, this would be the end of the
tutorial. Its that good. But, of course, theres morelots more.
STEP TWO: Six color sliders control the intensity of their hues.
The three primary colors are Reds, Greens, and Blues. The
three secondary colors are Yellows, Cyans, and Magentas. The
secondary colors are complements of the primaries: Reds by
Cyans, Greens by Magentas, and Blues by Yellows. The sliders
control the range of its color. Click-and-drag the Blues slider to
the left. The sky and the water get darker.

It would be logical to think that adding value to the Yellows would also darken the blues, right? Go ahead and move
the Yellows slider to the right. What happens? Yep, the trees
lighten but the sky and water dont change. The key to understanding this tool is that each slider increases or decreases the
brightness of its color only.
STEP THREE: Now, hold down the Option (PC: Alt) key and
the Cancel button becomes a Reset button. Click on it and
the sliders are repositioned to the settings the tool originally
chose for the image.
Remembering which color slider changes what tone in a
black-and-white image is hardly intuitive. Of course, theres a
better way. Click-and-hold in the dark area of the sky above
the treesto the left of the gazebo, and between the clouds
(as shown below).

The color swatch associated with the Blues slider becomes


bordered and the % amount for the Blues is highlighted.
Darken the sky by dragging the cursor (its now a scrubby slider)
across the area until the Blues reads 71%. Click the Preview
checkbox off and on to see the before and after versions.

DIGITAL PHOTOGRAPHERS NOTEBOOK

STEP FIVE: The trees still


need to be a bit lighter. Hide
the Black & White adjustment layer by clicking on the
layers Eye icon. Looking at
the original image, we see a
lot of warm, early-morning
light in the leaves and hitting
the bricks on the gazebo,
and warm light is orange.
In Photoshop, pure
orange is R:255 and G:128,
but the Black & White tool
doesnt work like this
(remember, each slider
controls its color only). Warm light is a combination of yellow
and redjust like mixing paint rather than RGB numbers.
Click the Eye icon again to
show the Black & White layer
and then double-click the
Layer thumbnail to reopen
the Black & White dialog.
Move the Red slider to
the right until it reads 60%.
Much better!
STEP SIX: I had envisioned
this scene as a turn-of-theprior-century-sepia look
and just as there are many
ways to convert color to
black-and-white in Photo-

shop, there are several to tone them as well. The best part of
the Black & White adjustment layer is that toning is built right
in, so click the Tint checkbox, set Hue to 39, and Saturation
to 10%.
Now click on the Preset options icon (left of the OK button),
choose Save Preset, name it Sepia, and click Save. Next time
you create a Black & White adjustment layer, these settings
will be waiting for you in the Preset menu. Click OK to close
the Black and White dialog.
STEP SEVEN: The conversion leaves this image a little flat,
so we need to radiate some intensity. Show the Info palette
(Window>Info) and then click on the Create New Adjustment Layer icon (at the bottom of the Layers palette) and
select Curves.
In the Curves dialog, hold down the Option (PC: Alt) key
and click in the grid (to make a fine grid). Start at the lower-left
corner of the grid, count two boxes right, then two up, and
Command-click (PC: Ctrl-click) to set a point that will protect
the shadow values. In the image, click-and-hold while moving
the cursor over the columns in bright sunlight. When the dot
on the curve gets to its highest point, hold down the Shift key,
release the mouse button, and click to place a color sampler
on that point. Read the RGB numbers in the Info palette. Our
numbers show R:234, G:222, and B:196, which is a little dark for
the highlight in a print.
Hold down the
Command (PC: Ctrl) key
and click on top of the
sampler in the column.
A black dot appears
on the curve. Press the
Up Arrow until Red in
the Info palette reads
around 245. Theres still
detail in the column
and the image has a lot
more snap. Click OK.
Hide and show the
Curves layer to see the
difference and if its too
much of a change, lower
the layer Opacity. Now
its time to make test prints and see which one works best.
Black and white is all about the contrast contained in the
photograph. We want to see deep, rich blacks and sparkling,
bright whites with detailed tones in between. The Black &
White adjustment layers a welcome new tool in creating
stunning prints. Until next time, keep shooting! Q

Kevin Ames, a commercial digital photographer, is author of Adobe Photoshop CS2: The Art of Photographing Women, Digital SLR
Photography with Adobe Photoshop CS2 All-in-One for Dummies, and the upcoming Digital Photographers Notebook: Practical
Tips for Professional Photoshop Users. You can email him at Kevin@amesphoto.com.

w w w. p h ot o s h o p u s e r . c o m

STEP FOUR: The trees are


too dark so lets click-andhold in the trees to the left
of the gazebo. A scrubby
slider appears, the color
swatch for Yellows is bordered, and the number in
the entry window highlights. Drag to the right until
the window displays 99% to
lighten these areas.
Now click-and-drag over
the areas represented by
scrubby sliders (as shown)
to lighten the Greens to 58%
and darken the Cyans to 28%.
Click OK to close the dialog.

ALL IMAGES BY KEVIN AMES

069

Classic Photoshop Effects


The oldies but goodies that never seem to go out of style
Q B Y D AV E C R O S S

Crazy Text
Step right up. Its hard to believe but here it is, for the first time everthe ability to apply crazy filters
to your type, and still be able to edit the text. Yes, ladies and gentlemen, you heard it right: Apply
filters to text and keep the ability to edit the text. Thanks to Photoshop CS3 its available right now!
STEP ONE: Use your Type tool to add some text to a document.
To better see the effect, we used a large font size but of course,
the technique will work on all sizes of type.

p h ot o s h o p u s e r j u n e 2 0 07

STEP TWO: Control-click (PC: Right-click) on the type layer and


choose Convert to Smart Object. Note the small symbol that
appears on the layer thumbnail to indicate its a Smart Object.

STEP THREE: Apply one or more filters of your choice to the


Smart Object. In our example, we applied Sprayed Strokes
(Filter>Brush Strokes>Sprayed Strokes) and a Radial Blur
(Filter>Blur>Radial Blur). One of the advantages of applying
Smart Filters is that they appear in the Layers palette and
you can edit, hide, or delete these filters at any time.

070

continued on p. 72

STEP FOUR: When you use a filter, such as Sprayed Strokes, you
may notice that the filter introduces some white areas. If you
want to remove these (that is, make the white transparent), double-click on the layer name to open the Layer Style dialog and
use the white Blend If slider to make the white pixels transparent.
To do this, click-and-drag the This Layer white slider to the
left, then Option-click (PC: Alt-click) and drag the right-hand side
of the triangle slider to the right (as shown).

STEP FIVE: Smart Filters have a separate Layer Mask (one mask
for all the Smart Filters) so if you want to adjust the effect of the
filters, you can click on the mask thumbnail and paint on the
mask. In our example we used a Brush (B) from the Thick Heavy
Brushes set in the Brushes palette with the Opacity set to 30%
black, and painted a brush stroke across the center of the text
to slightly lessen the effect.

p h ot o s h o p u s e r j u n e 2 0 07

STEP SIX: To edit the text, double-click on the Smart Object


symbol to open a separate document window. Edit the text,
save, and close the document. When you return to the original
document, the text will update, while preserving the filters
youve applied to the text.

072

And heres our finished design that, when saved as a multilayered PSD file (including the Smart Object and Smart Filters),
can easily be changed at any time, simply by double-clicking
on the Smart Object. N

If you have an idea for a Classic Effects topic, please send it to


letters@photoshopuser.com.

From the Help Desk


An in-depth look at common Help Desk questions
NBY PE TER BAU ER
circle mode of operation. Unlike
Photoshops Healing Brush and
Clone Stamp tools, you have no
control over the shape or feathering
of the tool, nor can you change the
blend mode of the operation. Youll
likely find the Retouch tool great
for small flaws in your images, but
probably continue to rely on the
Healing Brush and Clone Stamp
tools for larger changes.
Remember, too, that you can
work with Camera Raw 4 and the

p h ot o s h o p u s e r j u n e 2 0 07

To: Wanda
From: NAPP Help Desk
Adobe Camera Raw 4, which you use
with Photoshop CS3 and Bridge CS3,
includes several new features, including
the Retouch tool, which is a combined
healing and cloning tool. You can copy
either texture (healing) or pixels (cloning).
And, because the editing is in Camera
Raw, no permanent change is made to
the image; the work is simply recorded in
the images metadata. Later, you can reopen the image in Camera Raw, if desired,
and change or reverse the effects of the
Retouch tool.

074

While the Retouch tools results are


similar to using Photoshops Healing
Brush and Clone Stamp tool, the Retouch
tool operates differently. Rather than designating a source point and then painting
over an area, you define a problem area
with a circle, and then select the source
area with another circle. The size of the
circle determines how large an area will
be healed or cloned. You can select the
tools working area with the Radius slider
and click in the center of the area to be
changed, or you can click in the center
of the area and drag to size the initial
red-and-white circle. Once you release
the mouse button (whether you clicked
or dragged), a second circle appears,
green-and-white in color. Click inside the
second circle and drag it to the area from
which you want to heal or clone. You can
also click inside the red circle and drag to
reposition it. Click directly on the edge of
either circle and drag to resize both.

CHRIS MAIN

To: NAPP Help Desk


From: Wanda
How do you use the new Retouch tool in
Adobe Camera Raw 4?

Before

To repair another area, simply


repeat the process. Once you
start working on a subsequent
area, the previous change is
shown with a black-and-white
circle. You can switch between
healing and cloning for each
area as you work.You can also
change your mind afterward:
If you use the Heal option and
later decide you should have
cloned, click on that blackand-white circle with the
Retouch tool, then change
Healing with
the Retouch to
the tools mode to Clone. You
ol
can also remove a change made with the
Retouch tool: Click on the circle, then press
Retouch tool on JPEG and TIFF files.
the Delete or Backspace key to undo the
Select the file in Photoshops File>Open
healing or cloning.
dialog and change the Format pop-up
To the upper-right of Camera Raws
menu (Mac) or the Files of Type menu
preview area (when the Retouch tool is
(PC) to Camera Raw, then click the Open
button. The image appears in Camera
active) youll find the Preview and Show
Raw and as when editing a RAW file,
Overlay checkboxes, as well as the Clear
no changes are made to the actual
All button. Deselecting the Preview box
pixelsthe changes are stored in the
shows you the original image. Unchecking
files metadata. Once you open the file
the Show Overlay box hides the Retouch
in Photoshop, the changes are applied,
tools various circles. The Clear All button
but re-opening the original file in Camera
removes all of the changes made with the
Raw lets you alter or eliminate any changes
Retouch tool.
made in Camera Raw to that image.
The advantage of Camera Raws
[For more information on Adobe Camera
reversible healing and cloning is offset
Raw 4, see the Beginners Workshop
somewhat by the Retouch tools twoon page 56.Ed.] N

Peter Bauer is Director of the NAPP Help Desk and a featured columnist at PlanetPhotoshop.com. His latest book is Photoshop CS2 for Dummies.

PRODUCT REVIEWS

reviews
bce pSP9eiY?e
b:e U`SPegnMj`eGSgSeTAqqe
b:e !e"`Le
bQe JMg9_e S_B9e
:qe MjBJPeSOO"P79_e_Se
:qe MnOUj`egnMj`ebhqe
:Te JggM9eJBeJ`L
,SSL`e:ie

e9"MeS_M7e O"B9eG"_U9PJPBe

lJgGe7S,9eGSgS`GSUei

3"PPJPBe9B"gJk9`e"P7eMJ79`

GSgS`GSUenU9e>>93g`e
SP9eJM7

Note: Product prices are as of press date. Please check manufacturers website for current pricing.

reviews
Get the inside scoop on all the latest Photoshop gear

Ozone 2.5

Review by
David Singer

Photoshop plug-in that replicates the Zone System

PRICE:
FOR:
FROM:
PHONE:
WEB:

p h ot o s h o p u s e r J u n e 2 0 07

RATING:

076

$50
Mac and Windows
Digital Film Tools, LLC
818-761-6577
www.digitalfilmtools.com

XXXXX

What many people dont realize


is that Ansel Adams, who was
famous for his beautiful blackand-white photographs, wasnt
a great photographerbut
he was a good photographer
and a master of the darkroom.
Around 1940, he and Fred
Archer invented the Zone
System, a system for exposing
shadow detail and developing
highlights in the darkroom.
Zones were given a number,
with lower-numbered zones
being darker; for example, Zone 0
was absolute black then, as
the zone number increased, it
became increasingly brighter
until reaching the highest zone,
which would be absolute white.
This process allowed for the
creation of Ansel Adams rich
black-and-white prints that
showed incredible tonal range.
With the release of version
2.5 of Ozone, a Photoshopcompatible plug-in, Digital
Film Tools has brought digital
photographers as close as they
can get to Ansel Adams Zone
System in the digital darkroom.
This version of Ozone brings

a new look to the plug-in with


a sleeker-looking interface
and a larger (very welcome)
preview window. Ozone 2.5
divides the zones into 11
separate zones (similar to
Ansel Adams Zone System),
with Zone 0 representing true
black, Zone 5 representing
neutral grey, and Zone 10
representing pure white. A
toolbar across the top of the
interface provides access to
basic functions, such as Save,
Load, Undo, Redo, and Done.
The Save button allows users
to save custom settings that
can be recalled later using the
Load button.
Beneath that toolbar and
running across the top of the
preview window are navigation controls that let users
control the zoom percentage
of the preview window, gives
them one-click access to a
1:1 view, and allows them to
select the view mode. Available view modes are Side-bySide, Horizontal Split, Vertical
Split, and A/B Comparison. In
the Side-by-Side mode, users
view before-and-after full
views of the image as its processed. The Horizontal and
Vertical Split modes show one
large image with half of the
image reflecting the original
and the other half previewing
the image with the current
settings applied. In the horizontal or vertical split modes,
the dividing point is shown by
green arrows just outside the
edge of the preview window.
The user can move this point

of division arbitrarily by grabbing the dividing line in the


preview window and sliding
it to another point within the
windownice! The preview
window can be enlarged or
shrunk by grabbing the bar that
separates it from the Parameters dialog on the right side of
the screen and dragging it to
the desired position.
The Parameters dialog is broken into three sections: View,
Zone, and a set of sliders. The
View section lets users decide
whats shown in the preview
window, final output, the original image, or the zone currently
selected. The Zone section
provides access to the 11 available zones, 0 through 10. Below
the View and Zone sections
are a series of sliders giving
users control over aspects of
the selected zone, including
position and range, hue and
saturation, brightness, contrast
and gamma, individual sliders
for each of the primary colors
(red, blue, and green), and temperature. Below the sliders is a
small black-and-white preview
of the selected zone.
For decades, multitudes of
photographers subscribed to
the Zone System in their quest
for the perfect photographic
print. With the advent of digital
photography, alternatives were
devised, but none delivered
the stunning results that were
achievable using the Zone
System. Digital Film Tools
Ozone 2.5 does a great job of
replicating the Zone System in a
digital world. Q

reviews
Get the inside scoop on all the latest Photoshop gear

Epson Stylus Photo 1400

Review by
Steve Baczewski

Print 13x19" enlargements fast

PRICE:
FOR:
FROM:
PHONE:
WEB:
RATING:

$399.99
Mac and Windows
Epson America, Inc.
800-463-7766
www.epson.com

XXXXX

Epson is replacing their venerable 1280 dye-ink printer with


the improved Stylus Photo
1400. This new printer delivers
professional quality color prints
at an affordable price, making
it a good choice for beginning
digital photographers.
The printers solid, 25 lb
silver-and-black chassis has a
simple design: On the front,
it has a three-button control
panel and a USB PictBridge
port for printing directly
from digital cameras and cell
phones; and above the front,
an extendable paper output
tray is a dropdown unit for
printing on CD/DVDs. On top

EZ Mask

is the only paper feed, which


holds from 4x6" to 13x19" sheet
paper up to 0.11mm thick.
Theres no roll paper option.
On the back is the power cord
and USB 2 connector.
The Stylus Photo 1400s
professional print quality is
based on several features.
Epsons new durable Claria
dye-ink set is more stable,
resisting scratching and fading, and the company says
that prints will last 100 years
under glass. The set of six
individual cartridges is more
efficient, because now only
the specific spent cartridge
needs to be replaced. The

1400 has a new printhead


capable of ink droplets down
to 1.5 picoliters and print resolutions up to 7560x1440 dpi.
This and the drivers quality
Epson paper profiles result in
vibrant accurate color prints
with smooth gradients and
good detail. In high-speed
photo mode, a color 8x10"
print took 2 minutes and a
13x19" print took 3 minutes,
45 seconds. Sadly, black-andwhite prints have a faint, but
noticeable color tint. The
Windows print driver includes
an auto photo-correction
feature that isnt included in
the Mac version. N

Review by
David Singer

p h ot o s h o p u s e r J u n e 2 0 07

Interactive image-masking tool

078

PRICE:
FOR:
FROM:
PHONE:
WEB:
RATING:

$150
Mac and Windows
Digital Film Tools, LLC
818-761-6577
www.digitalfilmtools.com

XXXXX

Creating a complex mask


isnt the easiest task one can
perform in Photoshop and it
has more than likely been the
cause of major headaches for
many. EZ Mask, with its simple,
intuitive interface and accurate
mask generation, may be the
cure. This image-masking tool
is designed to make the
creation of complex masks a
simple, point-and-click task.
Selection tools run down
the left side of the interface
with a beautifully large work
area/preview window taking up
the majority of the remaining
space. Just load a foreground
and background image and cre-

ate a layer mask. Then you just


use the green highlighter tool
to make a rough outline around
the edges of the subject youd
like to extract and use the red
highlighter tool to mark areas of
the background. In many cases,
this will be enough to get a
good, quality extraction.
More complex masks may
require the use of the Fill tool
and the Unknown Brush. Using
this method, you mark the
known foreground and background using the appropriate
brushes and then fill the foreground with the Fill tool. Next,
you use the Unknown Brush to
mark edges where there may

not be enough distinction between foreground and background to use the basic method.
If you make a mistake marking your foreground or background, or with the Unknown
Brush strokes, the Eraser tool
allows you to fix it easily and
continue with creating your
mask. Once EZ Mask is done
processing, you can view the
foreground or background,
the mask, or a composite
image in the preview window
using the buttons along the
top of the interface.
I highly recommend EZ Mask:
Creating masks in Photoshop
really doesnt get any easier. N

reviews
Get the inside scoop on all the latest Photoshop gear

Filter Forge

Review by
David Singer

Plug-in with built-in filter creation

PRICE:
FOR:
FROM:
PHONE:
WEB:
RATING:

$299
Windows
Filter Forge, Inc.
703-740-8328
www.filterforge.com

XXXXX

What does almost four years of


development, 216,000 lines of
code, the use of five programming languages, and $299 get
you? A Photoshop-compatible plug-inbut no ordinary
plug-in. Filter Forge allows you
to apply corrective and creative
effects with simple mouse clicks,
but thats where the similarity
with other Photoshop plug-ins
ends. Filter Forge then takes one
giant step forward by allowing
users to create their own filters.
The basic plug-in aspect
of Filter Forge provides users
with an extensive online library
of filters, of which there are
already more than 1,800 ready

for downloading. With support


for seamless tiling, HDRI (high
dynamic range image) lighting,
16- and 32-bit modes, smart
anti-aliasing, dual-core CPU
support and more, the creators
of Filter Forge certainly didnt
skimp on features.
The key feature in Filter
Forge that separates it from the
pack is its built-in filter editor,
which lets you create your own
filters without knowing how
to code. Thats not to say the
process of creating your own
filters with Filter Forge is easy,
but its easier and can be done
by anyone willing to put in a
little time and effort. Youll defi-

nitely benefit by reading the


Help file and there are plenty
of users participating in the
user forums who can offer
advice. Filters are created in
Filter Forge by laying out the
steps necessary to create the
desired effect as individual
components and then connecting the components
togetherin effect, mapping out a flowchart. The
three types of components
are: map, curve, and control,
each of which performs different tasks.
Filter Forge is a great
plug-in, powerful, and highly
recommended. N

Adobe Photoshop CS3:


Photographers Guide
1-59863-400-3 $39.99
A beginning to intermediate
level, hands-on guide for photographers searching for a quick
introduction to the updated
tools of Photoshop CS3. This
full-color book focuses on the
Photoshop tools most often
used for photo editing.


Complete
Photoshop CS3 for
Digital Photographers
1-58450-536-2  $44.99
An intermediate to advanced
level, project-based guide concentrating on the updated photo
editing tools of Photoshop CS3.
This full-color book covers creative techniques for images as
well as output techniques.

Advanced Photoshop
CS3 Trickery & FX
1-58450-531-1 $49.99
Transform ordinary photos into
incredible special effects and
digital creations using the tools
of Photoshop CS3. Full of realworld tutorials, this book covers
advanced techniques for digital
artists wishing to create realistic
or fantasy effects.


Digital Character
Painting Using
Photoshop CS3
1-58450-533-8  $49.99
Create emotion in your characters as you seamlessly blend
character design and digital
painting using the painting tools
of Photoshop CS3. This intermediate-level book is ideal for digital artists wishing to paint real
and fantasy digital characters.

MORE Surreal Digital


Photography
1-59863-358-9 $29.99
Full of in-depth tutorials and
exercises, this book merges the
worlds of photography and
digital painting to create a new
digital art form using the tools
of Photoshop CS3. Ideal for
digital photographers and
artists wishing to broaden their
creative horizons.


Adobe Photoshop and


Photoshop Elements
for Teens
1-59863-379-1  $34.99
An introductory guide offering
young readers coverage of
Photoshop Elements 5.0 and
Photoshop CS3 through teenfocused projects. Integrates
Photoshop with devices such as
iPods, digital cameras, MySpace,
cell phones, and more.

Available at retailers nationwide

View our full list at www.courseptr.com

w w w. p h ot o s h o p u s e r . c o m

Create amazing images powered by Photoshop CS3

079

reviews
Get the inside scoop on all the latest Photoshop gear

Plugin Commander Pro

Review by
David Singer

Image masking plug-in

PRICE:
FOR:
FROM:

$49.95
Windows
The Plugin Site

PHONE:
WEB:
RATING:

www.theplugins.com

XXXXX

There are a lot of extras out


there for Photoshopplug-ins,
gradients, brushes, etc.and
some of these are very cool.
But the more extras you add,
the bigger the impact on your
Photoshop installation. I hear
complaints from fellow users
that over time their Photoshop
installation has grown sluggish.
More often than not this has
been traced to a combination of factors including their
Photoshop settings and lots of
installed extras, such as fonts
and ICC profiles, which also
have to be loaded each time
Photoshop starts.
So whats a Photoshop
extras lover to do? For starters,

dont install unnecessary extras


and uninstall any that you no
longer use. But what about
those cool extras that you only
use on occasion, such as frame
collections, that you dont
want to uninstall? Well, you can
manually disable them and then
re-enable them as necessary,
but depending upon how many
of these extras you have on
your system, the process can
be tedious. Thats where Plugin
Commander Pro by Harald
Heim comes in.
Plugin Commander Pro
doesnt have a slick look or provide flashy special effects. Its
more of a blunt instrument that
fills a need that no other plug-in

Olympus Stylus 730

has addressed. Its a plug-in


manager that allows users to
enable and disable plug-ins
individually or in groups, rearrange and combine existing
filters in Photoshops filter dropdown menu (using the existing
categories or by creating your
own through the batch dialog),
apply a series of effects to a list
of images, and more. Plugin
Commander Pro supports more
than 30 different filter types
including Photoshop, Premiere,
and After Effects plug-ins. All
this and many additional features make Plugin Commander
Pro an indispensable tool that
works exactly as advertised
highly recommended. N

Review by
Steve Baczewski

p h ot o s h o p u s e r J u n e 2 0 07

All-weather digital camera

080

PRICE:
FOR:
FROM:
PHONE:
WEB:
RATING:

$349.99
Mac and Windows
Olympus
888-553-4448
www.olympus.com

XXXXX

The 7.1-megapixel Olympus


Stylus 730 features a striking 3"
LCD, a modest 3x optical zoom,
and a fully automatic Simple
mode, making it a good, no-fuss
camera for beginners.
Its brushed metallic body
approximates the size of a deck
of cards and the camera has rubber gaskets for all-weather shooting. It has a 38114mm (35mm
equivalent) internalized, non-protruding lens thats oddly placed
in the upper-left cornera stray
finger gripping the camera could
easily lead to obstructed views.
On the back are a bright, 3" LCD
and an accessible, illuminated
control panel. The LCD is great
for composing except in bright
sunlight where images wash out

and sadly, theres no alternative


optical viewfinder. In low light,
Olympus Bright Scene Technology automatically brightens the
screen for easy composing.
The interface and menus
are logically laid out for easy
navigation. Theres an onscreen
panel for frequently used features such as ISO and exposure
compensation.
The Stylus 730 is essentially an automatic camera.
Olympus includes 20 preset
scene modes arranged by
subjectsuch as portrait,
landscape, and sportsfor
quick, accurate exposure
settings. An onscreen guide
lists problematic shooting
situations like backlighting and

automatically adjusts the


camera settings for the best
exposure. One addictive
feature is the well-designed
automatic in-camera
panoramic stitcher. It makes
aligning the shots easy by
leaving onscreen part of the
last image you shot to help
position the next frame.
The Olympus Stylus
730 is capable of making
good 13x19" prints with
its maximum resolution of
3072x2304. Image quality is
good up to ISO 200, although
higher ISOs produce noise
and color fringing. One
caveat, however: digital stabilization is achieved by boost
image noise. N

reviews
Get the inside scoop on all the latest Photoshop gear

Little Big Disk

Review by
Rod Harlan

Small, portable drive with triple interface

PRICE:
FOR:
FROM:
PHONE:
WEB:
RATING:

Lets get straight to the point:


If youre a video/motion
graphics/multimedia person
and youre on the go, youll
want this drive! The LaCie Little
Big Disk is a large-capacity
drive with built-in Raid 0 configuration and FireWire 800,
FireWire 400, and USB 2
connections. And the best
partits completely bus
powered through FireWire
no more inconvenient A/C
adapters. The drive comes
with a screw-in base to give
it weight when it sits on your
desk, but most mobile editors
will just pack the drive with
their laptopits only about

$419.99
Mac and Windows
LaCie
503-844-4500
www.lacie.com

XXXXX

the size of a couple of iPods.


This hard drive is formatted
for the Mac and youll need
to re-format the drive for it to
operate under the Windows
operating system. To connect
additional devices, you need to
use the same interface, either
FireWire or USB, because your
computer wont recognize the
daisy-chained device if the
interfaces are mixed. But for
the best performance, connect
it directly to a native FireWire
port on your computer and
avoid daisy-chaining it with
other devices. During data
transfers, its also best to wait
before launching other applica-

tions that will use the same


port. Just to be clear: You
can do all of these things, but
they just will not give you the
best performance.
The 320-GB unit that
I tested comes with two
5400-rpm drives. A 200-GB
unit with 7200-rpm drives
is also available, but heres
a little secret: If you put 170
GB of content on both the
200-GB and 320-GB drives,
theyll both run at about the
same speed. This is because
theres more headroom on
the larger capacity drive. For
most people, the 320-GB unit
will be the better buy. N

EXPODISC
0ROFESSIONAL$IGITAL7HITE"ALANCE

+VU[^HZ[L[PTL_PUNJVSVY
*HW[\YL(JJ\YH[L*VSVY
h0ROS-OREACCURATECOLORBALANCEFORNEXTTONOTHING
#ONS.ONETHATWECOULDCOMEUPWITHv
0$. $ECEMBER$AVID3CHLOSS

h4HEAMOUNTOFTIMETHISSAVESYOUIN0HOTOSHOP
ISSTAGGERING ANDITSSOEASYTOUSE
ITTAKESJUSTSECONDS BUTSAVESHOURS
!NABSOLUTEMUST HAVEv
,AYERS $EC3COTT+ELBY

#OPYRIGHT$-AYNARD

WWWEXPODISCCOM

"EST,ENS&ILTER
%XPO$ISC7HITE"ALANCE&ILTER

w w w. p h ot o s h o p u s e r . c o m

.EUTRALOR0ORTRAIT

081

books
Get the inside scoop on all the latest Photoshop books
Reviews by Peter Bauer

p h ot o s h o p u s e r J u n e 2 0 07

Real World Image Sharpening Scanning Negatives


with Adobe Photoshop CS2 and Slides

082

Photoshop Type
Effects Gone Wild

by Bruce Fraser

by Sascha Steinhoff

by Al Ward

It may seem strange to be reviewing a


Photoshop CS2 book when Photoshop
CS3 is at hand, but this isnt a book to
be missed. If your images are printed,
you need to read this book. Youll learn a
whole new way to sharpen your images,
one that takes into account both the
source and the destination. Written by
the late Bruce Fraser, it examines the
origins of sharpening and the myths
surrounding the subject, presents an
incredibly convincing array of evidence
that Bruce was, as always, correct, and
teaches you how to sharpen your images
for optimal prints.

If your photography predates the digital


age, you likely have slides and negatives
tucked away for safekeeping. When the
time comes to digitize those images so
that you can finesse them in ways the
darkroom didnt offer, youll want to get
the best possible scans. This book might
be a good place to start doing research
if youre considering the purchase of a
dedicated film scanner. Youll also find
information about scanning software. If,
however, you already own a film scanner and know how to use it, theres not
much here that isnt in your scanners
user guide.

The title of this book is a bit misleadingin a good way. Theres so much
more than simply type effects. For
example, in the first project, you learn a
technique for converting a photo to an
artists rendering. The author explains
Liquify and the Lighting Effects filter,
works with warping and layer styles,
and introduces masking and custom
gradients as well. Sample files are on
the CD so you can work along. Each
project starts with a plan, walks you
through the steps, and then adds a
recap. With this book youll learn lots
more than simply type effects!

PRICE:
PUBLISHER:
PAGE COUNT:
WEBSITE:
RATING:

$39.99
Peachpit Press
288 pages
www.peachpit.com

XXXXX

PRICE:
PUBLISHER:

$44.95
Rocky Nook, Inc.

PRICE:
PUBLISHER:

PAGE COUNT:

240 pages (with DVD)

PAGE COUNT:

WEBSITE:

www.rockynook.com

WEBSITE:

RATING:

XXX

RATING:

$34.99
John Wiley & Sons, Inc.
290 pages (with CD)
www.wiley.com

XXXXX

Want to learn
Adobe Creative Suite 3?
Dont just get a book.

Introducing OReilly Dynamic Learninga comprehensive self-paced training system that


includes books, video tutorials, online resources, and instructor guides. Written by product
experts and trainers who have produced many of Adobes training titles, the books are organized into
practical, easy-to-follow lessons that cover everything you need to know about the applications in CS3.

Capture. Design. Build. Edit. Play.

digitalmedia.oreilly.com
2007 OReilly Media, Inc. OReilly logo is a registered trademark of OReilly Media, Inc.
All other trademarks are the property of their respective owners. 70267

Photoshop Q & A
Answers to some of the most commonly asked Photoshop questions
N BY MAT T KLOSKOWSK I

ISTOCKPHOTO/EVA SERRABASSA

p h ot o s h o p u s e r j u n e 2 0 07

084

Q. My co-worker entered a bunch of type with the All Caps option


chosen in the Character palette by mistake. Is there a simple way
to change it to lowercase?
A. Sure, there are a couple of options. Highlight the text and open
the Character palette (you can press Command-T [PC: Ctrl-T] to
open the palette, as long as youve already highlighted the text).
From the Character palettes flyout menu, deselect All Caps. Or,
if you like keyboard shortcuts, highlight the text and press Command-Shift-K (PC: Ctrl-Shift-K). This shortcut works as a toggle
switch: it turns all caps into lowercase, or lowercase into all caps.

MATT KLOSKOWSKI

Q. Why is the JPEG option not available in my Format pop-up


menu when I choose File>Save As?
A. This can happen for several reasons, so its hard to say what
your problem is with 100% certainty but I can address the main
reason why this occurs. When you open a RAW image from
Camera Raw or move a RAW photo from Adobe Photoshop
Lightroom into Photoshop, many times the default Depth
setting is 16 Bits/Channel. Editing in 16 bit has become really
popular lately because you get more RAW information to work
with in your photos and thus have greater control over your
edits. However, you cant save a 16-bit photo as a JPEG using
File>Save As. So if you want to save your photo as a JPEG,
then youll need to change the bit depth setting from 16 bit to
8 bit by going to the Image menu and choosing Mode>
8 Bits/Channel. Now when you try File>Save As, the JPEG
option should be available.

Q. How do I get rid of the little color sampler icons that appear on
my images?
A. Great question! Lets catch everyone up, though, on how this
happens. People often add color sample points with the Color
Sampler tool when color correcting their photos. These little
icons remain in your image, even when youre done with them.
I know, I knowtheyre tiny and they dont actually affect anything, but they can be really annoying to look at. So naturally,
youll want to delete them. Here are two ways you can remove
them: First, if you want to delete all color sample points on the
image, then select the Color Sampler tool and click the Clear
button in the top Options Bar. Thatll get rid of all the points.
But if you only want to delete one point and leave the others,
then hold down the Option (PC: Alt) key. When you move your
cursor over one of the color sampler points, youll see the cursor
change to a pair of scissors. Just click on the point (or points) you
want to remove and theyre history.

Q. I often hear reset your preferences as a solution to many


Photoshop troubleshooting questions. What does that mean,
and why (and how) should I do it?
A. Resetting preferences is indeed a common solution to a
variety of Photoshop issues. It entails changing all the settings
in the various preferences dialogs back to their out-of-the-box
settings and is typically required whenever Photoshop starts
acting a little strangely; for example, a tool is mysteriously missing from the Toolbox, or you enter a Feather value in the Lasso
tool, but no feathering occurs. Its often an indication that the
preferences have been corrupted (although no one seems to
know why) and need to be deleted and replaced with a set of
fresh preferences. However, if you go looking for the preferences so you can delete them, it could take a while, so heres an
easier method: Quit Photoshop and then relaunch it, holding
continued on p. 86

For Mac OSX and Windows

 %# "
Turn your Photoshop designs into web sites. No coding. No hassle.

Graphic Designer

Photographer

Web Developer

Maybe you've tried building web sites,


but found the tools and technologies too
clumsy, complex, and full of pitfalls. Or
maybe you consider yourself only a
designer, not a developer and have
stayed away from web tools altogether.

You need a custom website that shows


off not just your portfolio, but also your
unique style and vision, something that
canned web templates will never reflect.

How many times have you had to implement a working site from a graphically
complex original design laid out in a
Photoshop file?

But a lively, personalized site, built to


professional web standards, requires
either the delay and expense of a professional web developer or extensive
personal knowledge of HTML, CSS,
javascript, and more - until now.

SiteGrinder can help you quickly and


painlessly build pages that retain close
fidelity to the original design.

You should know that it's time to reconsider. The SiteGrinder plug-in from
Media Lab has changed the face of
visual web design forever.
Suddenly any graphic designer with
basic Photoshop skills can begin rapidly
developing web pages supporting everything from Flash image galleries to
email forms.

Today photographers like you are using


SiteGrinder to create totally individual and
professional web sites for themselves.

In fact, SiteGrinder is so easy you can


buy it in the morning and be producing
pages by the afternoon.

SiteGrinder is hugely different from other


visual web tools. It knows all about web
standards and best practices, so it creates
clean and compliant code. It knows all
about Photoshop, so it can create entire
complex sites from a single Photoshop
file. And SiteGrinder knows that every
job presents its own unique requirements, so there is plenty of flexibility
before, during, and after building the
pages for you to add whatever custom
code you need.

 #$! "$$$ $ ""##!$(


 $&$ "
% ' $$"$ !!$ #
"( '  $  !# ("
%"&%#$'$'( ' "$$$#$'#$%!"%&"(
$$$ 
"$##%($'# ""
-Gary AndonianSilver Dog Digital

  ##
Find out more and download the demo at: www.medialab.com/grind

086

ISTOCKPHOTO/JOEY NELSON

p h ot o s h o p u s e r j u n e 2 0 07

Q. I seem to remember that its possible to create a second view


of the same document, but cant find how to do that. Can you
please remind me?
A. Its no wonder that you cant find it since the location of the
command isnt really all that intuitive. Its under the Window>
Arrange>New Window for [name of your document]. A great
way to take advantage of this technique is to keep one window
in View>Print Size while you zoom in on the other window. As
you make changes to the magnified version, you can see how
those changes will look at the size the document will print. We
use it all the time for retouching photos. You can zoom in to see
the details of what youre retouching but keep a smaller window to view how the changes look overall.

ISTOCKPHOTO/WOLFGANG KAISER

Q. Whats the difference between Opacity and Fill in the


Layers palette?
A. In most cases, there may not even appear to be a difference
between Opacity and Fill. Youll typically notice this if your layer
has some effects applied, such as a drop shadow, glow, or stroke.
In this example, theres a text layer to which a drop shadow is
applied. When you lower the Opacity slider to 50%, the opacity
of both the contents of the layer (the text) and the effect (the
drop shadow) are affected. If you lower the Fill slider, only the
contents of the layer are affected, while the layer effect stays
100% opaque. In our example, by lowering the Fill and leaving
Opacity a 100%, the text becomes see-through while the drop
shadow is still visible.
So if you want to
change everything on a
layer, including the layer
styles, use Opacity; if
you want the contents
of the layer to disappear to show only the
layer style, use Fill. This
effect works great when
youre trying to create a
watermark. Just apply a
Bevel and Emboss layer
style to your watermark
and drop the Fill all the
way down to 0%. Q

down Command-Option-Shift (PC: Ctrl-Alt-Shift). A dialog will


appear asking if you really want to delete your settings. Click
OK and Photoshop will continue launching with a completely
refreshed set of preferences.
The downside is that all settings are reset to their defaults, so
anything youve previously changed, such as Units of Measurement, History States, File Handling, etc., will have to be changed
again. Also, youll likely lose any presets that youve created
(custom brushes, patterns, styles, actions) unless youve saved
them already (go to the flyout menu of the palette, lets say
Brushes palette for this example, and choose Save Brushes).
Some people recommend resetting preferences on a regular
basis, such as once a month. Another school of thought is to
reset the preferences only when trouble occurs. Whichever you
choose, always try resetting preferences before you go to the
effort of reinstalling Photoshop!

Photoshop Quick Tips


Some quick tips to make your Photoshop life easier
QBY SH E R RY LONDON
When your EXIF data disappears
You have a midlevel digital camera that
only shoots JPEG images and when you
look at the JPEG images in Bridge (or in
Photoshop using File>File Info), you can
see all the camera data (EXIF)exposure and flash settings, for example.
After youve made some changes and
used File>Save for Web, your EXIF
data disappears: Saving the image
this way simply doesnt preserve the
camera information. Instead, choose
File>Save As, choose the JPEG format,
and your camera data will survive its
trip into Photoshop. Read on for more
on JPEGs

p h ot o s h o p u s e r j u n e 2 0 07

Save your JPEGs as PSDs


If you shoot JPEG and edit your images
in Photoshop, save your result as a PSD
(Photoshop format) file, thus saving the
best-quality image you can. Use this version for printing or if you ever need to reedit the image. The only time you should
re-save a JPEG as a JPEG is when you
want to upload that image to the Web,
because each time you re-save a JPEG as
a JPEG, it reduces the image quality. So,
if you need to use a JPEG workflow, save
and protect a PSD version of your image
and always start your editing process
with that version.

088

Soften your frame edges


When you vignette and frame your
image, hard edges show up after you
soften the vignette because the image
isnt large enough for the treatment.
What do you do? The solution is usually
fairly simple. Just add a new layer above
your original photo. Now choose the
Clone Stamp tool (S) and make sure
that the Sample All Layers box in the
Options Bar is checked. Click on the Eye
icon to hide the frame layer and then
just extend the picture by cloning the
photos background under the hard
edges of the vignette frame.

Cloning with Sample All Layers on

Then
click on the
frame layers icon to
reveal your
adjusted
vignette.

Mask cloned with Sample All Layers off

QUICK KEYSTROKES
Brought to you this month by the
letter J (for June)
1. Pressing the letter J on the keyboard chooses whichever Healing
tool is visible.
2. Pressing Shift-J cycles through
the Spot Healing Brush, Healing
Brush, Patch, and Red Eye tools,
showing a new tool each time.

Cloning inside a mask


On the subject of the Clone Stamp tool,
have you ever tried to clone inside a
layer mask? It isnt as simple as it seems.
The only way to get what you expect in
the layer mask is to uncheck Sample All
Layers in the Options Bar. If you try to
clone from the combined layers, you end
up transferring grayscale image data
into your mask.

3. Command-J (PC: Ctrl-J) is the


keyboard shortcut for Layer>
New>Layer via Copy.
4. If you have a selection in your
image, pressing CommandShift-J (PC: Ctrl-Shift-J) creates
a Layer via Cut.
5. Command-Option-J (PC: CtrlAlt-J) will give you the New Layer
dialog (along with the New Layer
via Copy). N
ALL IMAGES BY SHERRY LONDON

Photoshop
user

June 2007

I N D E X

O F

A D V E R T I S E R S

For advertising information, please contact Melinda Gotelli, Advertising Director, at 916-929-8200.
email: mgotelli@photoshopuser.com
4 Over, Inc.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9091
www.4over.com

e frontier. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
www.e-frontier.com

Paint Like a Master . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71


www.photoshopvideos.com

Adobe Illustrator Techniques. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103


www.illustratortechniques.com

Expo Imaging . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81
www.expodisc.com

Peachpit Publishing Group . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59


www.peachpit.com

Adobe Photoshop Lightroom Book for . . . . . . . . . . . . . . . . . . . . 102


Digital Photographers, The
www.scottkelbybooks.com

Focal Press. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57
www.focalpress.com

Photos.com. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77
www.photos.com

Graphic Authority . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9293


www.graphicauthority.com

PhotoshopCAFE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108
www.photoshopcafe.com

Hewlett-Packard. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
www.hp.com

Photoshop World Conference & Expo . . . . . . . . . . . . . . . . . . . . 47


www.photoshopworld.com

Imagers. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99
www.imagers.com

Pres-On Corp.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94, 103


www.pres-on.com

iStockphoto . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . IFC, 3
www.istockphoto.com

Printing For Less . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31


www.printingforless.com

I. T. Supplies. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
www.itsupplies.com

PrintRunner . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107
www.printrunner.com

Blurb . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106
www.blurb.com

Janes Digital Art School . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100


www.janesdigitalart.com

Professional Photographers of America . . . . . . . . . . . . . . . . . . 96


www.ppa.com

BOSS LOGO Print & Graphics Inc. . . . . . . . . . . . . . . . . . . . . . . . . . 98


www.5000cards.com

Lensbabies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
www.lensbabies.com

Shutterstock. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
www.shutterstock.com

CDW. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
www.cdw.com

Lens Pro To Go. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106


www.lensprotogo.com

Supraphoto . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106
www.supraphoto.com

Clipart.com . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . BC
www.clipart.com

Load.com. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101
www.load.com

Thomson Course Technology. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79


www.courseptr.com

Copy Craft Printers. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97


www.copycraft.com

Media Lab, Inc.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .85, 87


www.medialab.com

Twisting Pixels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87
www.twistingpixels.com

Corel. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
www.corel.com

Microtek. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
www.microtekusa.com

Wetzel & Company . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94


www.wetzelandcompany.com

Creative Juices. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100


www.bigposters.com

onOne Software . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . IBC


www.ononesoftware.com

www.RawWorkflow.com . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
www.RawWorkflow.com

Deke McClelland . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104


www.lynda.com/deke

OReilly Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83
http://digitalmedia.oreilly.com

Zoo Printing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100


www.zooprinting.com

Adobe Photoshop Seminar Tours. . . . . . . . . . . . . . . . . . . . . .16, 73


www.photoshopseminars.com
Alien Skin Software. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
www.alienskin.com
AMC Colorgrafix . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95
www.amc-color.com
B&H Photo. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105
www.bhphotovideo.com
BigStockPhoto. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109
www.bigstockphoto.com

While every attempt has been made to make this listing as complete as possible, its accuracy cannot be guaranteed.

Photoshop

user

A collection of products, services, and the hottest Photoshop gear

Create Something Extraordinary...


Have you ever tried to paint a background in Photoshop only to be frustrated with the
results? Now, you can copy and paste from our new collection of intricate, traditionally crafted
Marbled Papers and achieve stunning results. For example, you can take any portrait and
add visual interest in minutes. With 45, 300 DPI images to choose from, you cant go wrong.
A case in point is the portrait to the right. I took
one of the 11x 14 , jpeg images from the
Marble Papers CD and was able to enhance this
stock photo in minutes.
With several easy steps, I selected the background and
pasted into a portion of a Marbled Paper jpeg file.
I repeated the sequence with the models blouse. With a
few well placed shadows I was done.
Wetzel & Company has developed a library of CDs
that expands the possibilities for designers and
photographers beyond the power of Photoshop.
Now you can scroll though hundreds of painted
backgrounds and photographic images for that
perfect complement to your next assignment.
To learn how to use backgrounds more effectively
be sure to visit our web site and read our tutorials.
Remember, as with all our CDs, quality and creativity
are surprisingly affordable.

Marbled Papers and our entire line of 19 CDs are just


$69.95 each and are copyright and royalty free.
Now you can save up to 41% when you buy any 6 titles !
Visit Us on the web at

www.wetzelandcompany.com

We offer quality Canon and


Nikon lenses for rent and ship
them where you need them.

Create Bookstore-Quality
Books. Start Tonight.
- Free Blurb BookSmart software for your
Mac or PC. Download at blurb.com

All of our prices include shipping to you and


back to LensProToGo.
All of our lenses are shipped in Pelican brand
cases to ensure that every lens arrives safely
to its destination.
Overnight shipping is available please call for assistance.
We offer optional renters
insurance.
Check our website for an
exclusive NAPP offer.

- Four sizes to choose from. Prices start at $12.95


- Buy one or many; discounts for 10+ copies

blurb.com

www.lensprotogo.com
508-243-2956

We take
reservations
up to three
months in
advance.

Save 10% use code: PSU3


www.photoshopCD.com

THE

ULTIMATE

IN

PHOTOSHOP

TRAINING

Photoshop Beginners Tips


Some quick tips to get you started in Photoshop
NBY COLIN S MI TH

Random Tips for Photoshop CS2 and CS3


With all the hoopla of Photoshop CS3,
I considered writing all the cool tips I could
think of for Photoshop CS3. (I have CS3
on the brain because Ive been writing a
700-page Photoshop book.) Then I realized that not everyone upgrades right
away so I decided on a compromise: one
or two hot CS3 tips to start and then some
CS2 tips to keep you all smiling.

p h ot o s h o p u s e r j u n e 2 0 07

Preview your edge on any color


By now you may have gathered that you
can use the Refine Edge tool to preview
your edges and selections (with any selection tool active, choose Refine Edge from
the Options Bar). Notice all the options
at the bottom of the dialogbut what
about hot pink? Just double-click the
Quick Mask option. In the dialog, crank
the Opacity up to 100%, choose a color
from the Color Picker, and click OK. Now
you can audition your image against any
color and you can change these options
by double-clicking the Quick Mask.
Note: You may want to change the settings back when youre done because this
color will affect all masks and alpha channels.

110

Gimme my gradient
In Photoshop CS3, you have access to
your gradient picker anywhere you want
it. Choose the Gradient tool from the
Toolbox (or press G). When your cursor is
in your image, Control-click (PC: Rightclick) or press the Return (PC: Enter) key
and the gradient picker appearsnow
thats handy. This also works for Brushes
(B), except you have to Control-click (PC:
Right-click) to get your Brushes palette.
Stop selecting that type
Have you experienced the frustration
of trying to add a new text layer when
its close to existing type? Whenever you
click, you select the previous type rather
than creating a new text layer. You tried
hiding the old type or locking the layer to
get around this issue. Good newsno more
workaround needed. Hold the Shift key as
you click with the Type tool to force a new
text layer. Yep, this works on previous versions of Photoshop. Its been there all along.
Unifying text layers
After youve created multiple text layers,
you changed your mind on the color, font,
or size. You could select each piece of text
with the I-beam and change it if you like,
but heres what Id suggest. With nothing
selected, simply select all the text layers
you want to change at the same
time by pressing Command-C (PC:
Ctrl-C) and clicking the text layer
thumbnails in the Layers palette.
Choose the Type tool (T) and make
your changes in the Options Bar or
the Character palette and watch all
your text layers update at once.
Displaying mask overlays
When painting on a layer mask,
have you ever wanted to see the

overlay (the reddish color) like you get


when working with a Quick Mask? Just
press the Backslash key (\) to show the
overlay. This
enables you to
see what youre
doing while
painting on a
mask. Press the
\ key again to
hide it. You can
also Shift-click
the layer mask
to turn it off.

Display your channels in color


You can make your color channels appear
in color (instead of black and white), if
you like. Choose Photoshop (PC: Edit)>
Preferences and under Display & Cursors, click on the Color Channels in Color
checkbox. Now, all your channels will show
in color in the Channels palette.
Okay, now that youve seen the channels, it might be a good idea to put them
back, as its easier to see the color density
in a grayscale view. N
Colin Smith, an award-winning designer, lecturer, and writer, has authored or co-authored
several books on Photoshop, and has created
a series of Photoshop training videos available
from PhotoshopCD.com. Colin is also the
founder of PhotoshopCAFE.com.
ALL IMAGES BY COLIN SMITH

Contents
Photoshop User CS3 Bonus Issue

www.photoshopuser.com

Feature
8

Adobe Photoshop CS3:


New Features Overview
Which features most influence the digital workflow?
Matt addresses that question by introducing the
new features in the order hed use themfrom
image input to output.Matt Kloskowski

Columns
14

Black & White Adjustment

32

The new Black & White feature makes converting color


into fine monochrome so simple.Kevin Ames

18

22

Its faster and more efficient to combine multiple images


into a single image with the new Auto-Align Layers
feature.Terry White

Revamped Clone Stamp Tool


The Clone Stamp tool takes a giant step forward with the
addition of the Clone Source palette.Corey Barker

20

34

Quick Selection Tool and Refine Edge


Making and tweaking selections got a whole lot easier
thanks to the Quick Selection tool and Refine Edge
feature.Dave Cross

36

Q&A for Photoshop CS3

39

Smart Filters

Video in Photoshop CS3 Extended


The video features in CS3 open the door for video effects
to be done by a new generation of artists.Rod Harlan

Cover by Felix Nelson.

Output in Photoshop CS3


Now its time to see which features Adobe has improved
to get your images out of Photoshop.Matt Kloskowski

Adobe Camera Raw 4


The toolset and functionality in this plug-in continue to provide
photographers with a more efficient workflow.Kevin Ames

42

Deke uncovers the power of smart filters, showing the basics


and how to apply and modify them.Deke McClelland

30

Little-Known Changes
Terry gives us a look at some of the lesser-known changes
in Photoshop CS3.Terry White

Some questions and answers about the new features in


Photoshop CS3.Scott Kelby

28

Auto-Align Layers

3D File Formats
You can now import native 3D files into Photoshop and
manipulate them in 3D.Corey Barker

44

New Analysis Tools


In CS3, youll notice a new Analysis menu that will help
technical professionals calibrate their images.Eric Wexler

From the Editor


A few words from our E.I.C.

Our Tradition Continues


Im a guy whos always been big on tradition and what youre holding continues a
tradition that we started many years ago.
I always felt that at our core, NAPPs role is
to make sure our members have the best,
most timely, and most detailed training
on Adobe Photoshop available anywhere,
and thats why we started the tradition of creating a bonus
issue each time a new version of Photoshop is released.
This extra issue is always dedicated to just one thing:
teaching our members the hottest features of the new
Photoshop (in this case, Photoshop CS3), and were proud
to carry on this tradition with this all Photoshop CS3
bonus issue.
As hard as it is to publish two simultaneous issues of
Photoshop User, its always an incredibly exciting time for
our staff. Putting this additional issue together is as fun as it
is challenging, because we wind up having to learn the new
version of Photoshop so thoroughly that once this bonus
issue is complete, we not only have our arms around what
the new version is all about, we also know firsthand which
topics our members are going to ask for next. Its a huge
advantageand a huge responsibilitybut this is the kind
of thing that really rallies our team, because we think putting this together for our members is that important.

Photoshop
user

If you havent played around with the free Public Beta


Adobe posted earlier this year, then youll want to turn to
Matt Kloskowskis feature (page 8) covering whats new
in CS3, whats changed, and how to make the most of the
new features in your own workflow. (You can also buy the
downloadable upgrade or download Adobes 30-day trial
version from Adobe.com.)
In case youre wondering where your Darkroom magazine is, our bonus issue is taking its place (Darkroom is our
new magazine for Adobe Lightroom users that comes
bundled with Photoshop User), but dont worry: Darkroom
will be back next issue because now, for some strange reason, our design and editorial staff seem to thrive on lack of
sleep, but ya know, somehow its all worth itbut I digress.
We sincerely hope you enjoy this special Photoshop User
CS3 Bonus Issue, and thanks for helping us continue a tradition that means an awful lot to us, and hopefully to you as
well. Now fire up CS3, turn the page, and start working with
the future of Photoshop.
All my best,

Scott Kelby, Editor-in-Chief

ADVERTISING DESIGNERS

Margie Rosenstein
Nicole Wolfe

CS3 BONUS ISSUE


FROM THE PUBLISHERS OF PHOTOSHOP USER MAGAZINE

EDITOR-IN-CHIEF
MANAGING EDITOR
SENIOR TECHNICAL EDITOR
TECHNICAL EDITOR
TRAFFIC DIRECTOR
ASSOCIATE EDITOR

Scott Kelby
Issac Stolzenbach
Barbara Thompson
Chris Main
Kim Gabriel
Mike Mackenzie

CONTRIBUTING WRITERS

Kevin Ames Corey Barker


Dave Cross Rod Harlan
Matt Kloskowski Deke McClelland
Eric Wexler Terry White

CREATIVE DIRECTOR
PRODUCTION MANAGER
ASSOCIATE DESIGNER
ASSOCIATE DESIGNER
PRODUCTION DESIGNER

Felix Nelson
Dave Damstra
Taffy Orlowski
Christy Winter
Dave Korman

ADVERTISING DIRECTOR
ADVERTISING COORDINATOR

Melinda Gotelli
Jeanne Jilleba

DIRECTOR OF CIRCULATION/
DISTRIBUTION

Ronni ONeil

PUBLISHER
EXECUTIVE PUBLISHER
EXECUTIVE VICE PRESEIDENT

Scott Kelby
David Moser
Kalebra Kelby

BUSINESS MANAGER
PUBLISHED BY

Jean A. Kendra
KW Media Group
333 Douglas Road East
Oldsmar, FL 34677-2922
Phone: 813-433-5000
www.photoshopuser.com

This seal indicates the content provided is created, and produced solely by the
National Association of Photoshop Professionals (NAPP). Additionally, it ensures the content maintains the stringent standards set by the NAPP, the worlds
leading resource for Adobe Photoshop training, education and news.

All contents COPYRIGHT 2007 National Association of Photoshop Professionals.


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 afliated in any way with Adobe Systems, Inc. Adobe, the Adobe logo,
Acrobat, Photoshop, Illustrator, and InDesign are registered trademarks or trademarks
of Adobe Systems, Inc. in the United States and/or other countries. All other trademarks mentioned belong to their respective owners. Some of the views expressed
by contributors may not be the representative views of the publisher. Printed in USA.
ISSN 1535-4687

Adobe

Creative Suite 3

is here, and Peachpit has it covered!


Whether youre a new user who needs to learn
Adobe software from scratch, an early adopter
who wants to get up to speed on the new features, or an experienced pro looking for inspiration, Peachpit has just the book for you.
Browse our complete list of CS3 books, plus look
for our articles, sample chapters, digital Short
Cuts, and free videos by Russell Brown to get the
kind of instruction you need, when you need it!

To see a complete list of our Adobe


Creative Suite 3 titles go to
www.peachpit.com/adobecs3

Adobe Photoshop CS3


Classroom in a Book
ISBN 0-321-49202-1
Adobe InDesign CS3
Classroom in a Book
ISBN 0-321-49201-3
Adobe Flash CS3 Professional
Classroom in a Book
ISBN 0-321-49982-4
Adobe Dreamweaver CS3
Classroom in a Book
ISBN 0-321-49981-6
The Photoshop CS3 Book for
Digital Photographers
0-321-50191-8
Dreamweaver CS3 for
Windows and Macintosh:
Visual QuickStart Guide
0-321-50302-3
Adobe Illustrator CS3 How-Tos:
100 Essential Techniques
0-321-50894-7
Adobe Photoshop CS3:
Up to Speed
0-321-51429-7

Adobe Photoshop CS3


N E W F E AT U R E S O V E R V I E W

By Matt Kloskowski

hen I set about writing this overview, I noticed that many


of the new features in Photoshop CS3 already fit right
into my digital workflow. And as I ponder over which

features have the most influence, I realized that each addition impacts

my workflow in a significant place. So, I decided that the best way


p h ot o s h o p u s e r C S 3 b o n u s i s s u e

to introduce these new features is to present them in the order

008

I use themfrom start to finish.


BRIDGE CS3
First introduced in the previous version of Photoshop, Bridge already felt like a fairly mature
image browser. With Bridge CS3, however, Adobe has stepped it up a notch and there are
some great new features that make the whole image and photo browsing/management
experience much more robust.
So lets jump right in where the typical photographer would begin: with the download
and import process. In the past, you probably used to plug in your card reader, input your
photos to your computer, and then opened them in Bridge to see what you had. After that,
the typical workflow included backing up and renaming the photos, addressing any metadata you wanted to travel along with your images, and adding copyright information (so
your photos were protected). Phewlots of steps for a seemingly simple task, right?

Photoshop CS3 Extended


Adobe is breaking new
ground by releasing two
versions of Photoshop CS3:
a standard version and
Photoshop CS3 Extended.
This article covers only
features in the standard
version; however, let me
mention some of the
features in the Extended
version that are also
covered in this Photoshop
User CS3 Bonus Issue, such
as powerful video creation
and editing (by Rod Harlan
on page 30), 3D Layers (by
Corey Barker on page 42),
and new tools for image
analysis and measurement
(by Eric Wexler on page 44).
Make sure you check them
out to learn more.

Adobe Photoshop CS3

When youre done, just click Get Photos


and Bridge does all the work for you.
Now its time to sort through your
photos to find the keepers and get rid
of the rejects. Bridge has several new
features that make this process easier.
First, you can compare multiple photos
that may be keepers next to each other in
the Preview panel. Just click on one photo
and then Command-click (PC: Ctrl-click)
on other photos to see them all appear
in the Preview panel (it helps to reshuffle
the other panels so the Preview panel is
larger). At this point, whats the first thing
you really want to see about these potential keepers? The details, right? Well, one
thing that used to slow me down was the
fact that I had to open the photo in Adobe
Camera Raw or Photoshop to zoom in.
Now, Bridge CS3 has a Loupe view. Yep,
just click on one of the photos in the
Preview panel and youll see a Loupe pop
open showing you a closeup view of the
photo. You can click-and-drag it around
the photo and zoom in on the details to
see if you got the shotwithout actually
opening the photo in Camera Raw or
Photoshop. Sweet, huh?
If you come across a
reject, theres a new label
appropriately named Reject
that lets you label it for
deletion (Option-Delete
[PC: Alt-Backspace] to label
as Reject). Once you find a
keeper, press Command-6
(PC: Ctrl-6) to assign it the
new Select label so you
can easily find it later.
Other new features that
help the workflow in Bridge
include the Metadata panel,
which now shows a quick
recap of your camera settings
at the very top. Bridge now
also has Stacks so that when
you have several similar
shots, you can clean up your
thumbnail view by stacking
them together. Just select the
photos in the Bridge photo
browser, go to the Stacks
menu, and choose Group as
Stack (or press Command-G
[PC: Ctrl-G]).

CAMERA RAW
Now that youve got your photos imported,
youve looked through them, and labeled
your selections, its time to start processing
them in Camera Raw. What? You dont
shoot in RAW format? No sweat, Camera
Raw now supports JPEG and TIFF formats
pretty mind-blowing, huh?
When you first look at the Camera Raw
dialog, youll see some pretty significant
changes. Before CS3 there were six tabs
and now there are eight (theyre icons just

under the histogram at the right of the


dialog)plus a few of the tabs have tabs
within them, so theres a lot more.
Lets start with the Basic tab. Under
Exposure, youll see two new (long-awaited)
sliders: Recovery and Fill Light. When you
adjust your Exposure and Blacks settings,
you may notice that some highlight or
shadow areas in the photo start to lose
some detail. Before the Recovery slider, the
only way to get rid of these clipped areas
was to adjust the Exposure or Shadow
settings, which tended to affect the entire
photo. Now, you just drag the Recovery
slider to the right to recover the lost detail
in those highlights without adjusting the
Exposure of the entire photo. Or drag the
Fill Light slider to bring back detail in those
shadow areas, without pulling back on the
Blacks adjustment.
Also, theres a new Vibrance slider at the
bottom of the Basic tab. This is great for
boosting color in undersaturated areas in
your photo without increasing saturation
in parts of the photo that dont need it.
And, its great for images of people, because it tends to leave skin color alone.

p h ot o s h o p u s e r C S 3 b o n u s i s s u e

Now its much easier. Just plug your


camera or card reader into your computer,
fire up Bridge CS3, and choose File>Get
Photos from Camera. The new Photo Downloader dialog launches. The Standard Dialog
is fine if youre the type of person who
(a) doesnt like to protect your work nor
cares if someone steals your photos; or
(b) doesnt care if you spend time downloading unnecessary photos that youd
otherwise delete. But we care, so lets cut
to the chase and get the good stuff by
clicking the Advanced Dialog button.
In this dialog, youll see a preview area
on the left where you can do some quick
housekeeping by unchecking any photos
that just plain shouldnt be there. On the
right, theres a Choose button to select a
target folder for your download, an area
to Rename Files on import, and a Save
Copies To option to automatically backup
your images right away instead of waiting
until later. Theres also an Apply Metadata
area at the bottom right. In the previous
Bridge workflow, youd have to import
your photos and then add copyright and
metadata info to them separately. With
this dialog, you can do it all in one place.

009

Adobe Photoshop CS3


As you move through the tabs (icons) in
the Camera Raw dialog, youll see a few new
ones as well. Tone Curve got a facelift with
even more options for adjusting the curve
in Camera Raw. Theres also HSL/Grayscale,
which works a lot like the Hue/Saturation
adjustment you may be accustomed to
using in Photoshop. Its also great for
creating a beautiful black-and-white photo
right inside Camera Raw. Finallyone that
photographers have been asking about for
awhiletheres Split Toning for working
specifically on tinting the highlight or
shadow areas of a photo.
Dont forget some of the new tools as
well. At the top of the Camera Raw dialog
youll see the toolbar, which has a new
Retouch tool thats great for dust busting
and spot removal. And theres the Red
Eye Removal tool (does it really need an
explanation?). Best of all, this stuff is still
all done nondestructively, so your edits
are never permanent.

Once the Camera Raw processing is


done, click on the Open Image button to
move on to Photoshop and continue your
workflow. [For more on Camera Raw, see the
article by Kevin Ames on page 39.Ed.]

p h ot o s h o p u s e r C S 3 b o n u s i s s u e

PHOTOSHOP CS3

010

When we get into Photoshop, lots of


new features will help you get your
photos ready for the final output. First,
theres a sleek new interface that does a
nice job of dedicating more space to your
photos while at the same time helping
you manage those unwieldy palettes that
seem to get scattered all over the place.
Once you get over the initial shock of
having a single-column Toolbox instead
of the old two-column style (that you can
change back if youd like by clicking the
arrows at the top of the Toolbox) I think
youll really fall in love with it. Besides,
lets face it, the Palette Well (may it rest in
peace) was great but it became cluttered
as well. In Photoshop CS3, a new palette
docking system has replaced it. Now you
can tuck your favorite palettes easily in

and out of the new palette docks that are


there by default.

Selections are key


As for the new tools, Im already totally
addicted to one and CS3 has barely been
released. Its called the Quick Selection
tool and it rocks! Heres how it works:
You click on the Quick Selection tool in
the Toolbox, draw a loose selection on
your image with a brush-like tool, and
Photoshop automatically completes the
selection for you. I know youre thinking
just as I did at first: How can that work?
But Ive thrown plenty of difficult selections at this tool and I have to say that it
has become my favorite quick selection
method in almost every circumstance.
To take this a step further, CS3 has added
the ability to refine the selection visually.

Whenever you make a selection, youll see


the Refine Edge button in the Options Bar.
Click on this button to open a dialog that
lets you not only view your selections using
the different choices at the bottom of the
dialog, but you can also feather, contract,
expand, and smooth your selections here
all of which we used to do under the Select
menu, but we never had a preview until
after we closed the dialog. Plus, you couldnt
use all of them at the same time as you can
now. This really is selections done right
and the combination of the Quick Selection
with the Refine Edge features makes selecting things so much easier and faster.
[For more on Quick Selection and Refine
Edges, check out the article by Dave Cross
on page 20.Ed.]
Once you have your selection, lets add
a Curves adjustment to darken the back-

Adobe Photoshop CS3

incorporates the auto-blend feature to help


eliminate those nasty seams we used to see
in our stitched panoramas seriously, the
new Photomerge has significantly cut the
amount of time I spend stitching my panos.

further because you can easily see what


youre cloning from. Plus the palette gives
you the ability to save multiple clone
sources so you can switch between them
more easily without having to keep resampling areas from the photo. [See Corey
Barkers article on this tool on page 18.Ed.]
After Ive done my retouching, I usually
get ready for output, which means that
Id sharpen the photo, which would
bring us to filters in CS3. In CS2, Adobe
introduced three new filterswhich was
pretty sweet. But in CS3, Adobe has added
a Smart Filters feature that makes every
single filter in CS3 better because its a
new way to nondestructively add filters
to your layers. (Photoshop users have
been begging for this one forever!)
For example, by converting a layer to a
Smart Filter layer (Filter>Convert for Smart
Filters), you can apply a filter to it and that
filter will show up grouped right under the
layer in the Layers palette.
Now if you ever need to change sharpening settings that you used (say for Web
output instead of print), you can just doubleclick on the Smart Filter icon and the Filter
dialog opens again so you can change it.
[And yes, theres an article on Smart Filters
by Deke McClelland on page 28.Ed.]

Next stopretouching
Typically next in the workflow, Id do
my retouching. Guess what? It just so
happens that CS3 has some brand-new
retouching features. Go under the
Window menu and youll see a new
palette option called Clone Source (its
tied to the Brushes palette). This palette
lets you take your retouching tools
(Clone Stamp and Healing Brush) even

p h ot o s h o p u s e r C S 3 b o n u s i s s u e

Compositing and blending


Another new feature that may help your
digital workflow is the new Auto-Align
Layers feature. If youve ever taken a
group photo and tried to get everyone to
look at the camera and smile at the same
time, you know how difficult it can be
(someone always closes their eyes). Well,
Auto-Align Layers looks at multiple layers
and aligns them with each other. As long
as you have a few shots where everyone
is looking and smiling at some point, then
Photoshop will align the layers and give
you the best of both worlds.
Plus, along with Auto-Align Layers,
theres a new Auto-Blend Layers feature,

which smoothly blends colors between


the photos so you wont have any color
shifts in the middle of a photo blend.
[Terry White wrote a great article on just how
to use these new features so make sure you
check it out on page 32.Ed.]
The topic of aligning layers leads us
right into a killer enhancement when it
comes to stitching panoramas together.
The Photomerge feature benefits from
the same auto-align technology and works
better than ever. Plus, it automatically

FOTOLIA/DASHEK

ground a little. Go to Image>Adjustments>


Curves to open the Curves dialog (notice
that its had a facelift as well) and drag the
curve downward to darken the background
and bring more focus to the subject. Look
closely at the dialog though. Youll notice
we finally have a Histogram behind the
curve so you can make a better-educated
decision about how to correct your photos.
[For more on the new Curves, see Taz Tallys
Production Clinic on page 64 of the June
issue of Photoshop User.Ed.]

011

Adobe Photoshop CS3

I dont think Im alone


when I say that CS3
will quickly replace previous
versions of Photoshop in
everyones workflow.

Black and white has never been better


Now were just about ready for output.
You could go ahead and move on or, if
you wanted to convert to black and white,
heres where to do it. In Photoshop there
have always been many tricks to do this but
in CS3, we now have a dedicated Black &
White converter feature. Just choose Image>
Adjustments and youll see a brand-new
Black & White adjustment in the menu.
It works a little like the channel-mixer
method but much better and with many
more options. Its also available as an adjustment layer, which makes it really flexible.
[See Kevin Ames tutorial on page 14 to learn
more about it.Ed.].

p h ot o s h o p u s e r C S 3 b o n u s i s s u e

Output

012

Now that your photos ready to go,


lets take a look at some of the output
improvements in CS3 (covered in full on
page 36). The first is in the Print dialog.
Choose File>Print and youll see how the
dialog has been redesigned to provide
more feedback about your pending print.
If Web output is your choice, then youll
want to try Zoomify in CS3. One of the
biggest problems with viewing photos on
the Web is that you cant see the details.
With Zoomify (located under File>Export>
Zoomify), you can do just that.
Finally, theres Device Central. Creating
great-looking content for mobile devices
has quickly become a priority in many

businesses. Using Device Central, you can


create, preview, and simulate graphics for
mobile devices all in one place. Youll find
it under the File menu and when it opens,
youll have a fully featured interface for
ensuring your mobile content looks, acts,
and plays the way you intended.

The bottom line


The standard version of Photoshop CS3
(upgrade cost is $199) is a productivityenhanced upgrade and, in my opinion,
photographers will have the most to gain
from it. That said, designers and illustrators
will still have plenty to gain from CS3

standard, as selections, blending, compositing, and output options have never


been better. However, I think the big
news for non-photographers is CS3
Extended (upgrade will run you $349).
This version is a whole new animal and
a huge leap for Photoshop into some
much-needed areas. Never before have
video, 3D, and scientific professionals
had the amount of power in Photoshop
as they do now. I dont think Im alone
when I say that CS3 will quickly replace
previous versions of Photoshop in
everyones workflow. N
All images by Matt Kloskowski unless otherwise noted.

Black & White Adjustment


Enhanced controls for creating striking black-and-white images in CS3
NBY KE VIN AMES

Make Stunning Black-and-White Prints


All of the black-and-white contrast filter combinations used in the good old days of film are
built into digital color images. Theyre just waiting for a great tool to help them become glorious black-and-white images. Enter the Photoshop CS3 Black and White Adjustment converter.

p h ot o s h o p u s e r C S 3 b o n u s i s s u e

oday, high-bit depth RGB captures are simply the best for
whatever creative inspiration strikesespecially making
stunning black-and-white prints. You can find the new
Black and White Adjustment converter in several ways: by
selecting Image>Adjustments>Black & White; as an adjustment
layer by choosing Layer>New Adjustment Layer>Black & White;
or by pressing the half-black/half-white icon at the bottom of
the Layers palette and choosing Black & White from the menu.
Color in Photoshop is mixed using varying values of red,
green, and blue. The complementary colors are cyan, magenta,
and yellow, respectively. Red, green, and blue are the primary
colors on a color wheel
and their complements are
opposite them, that is: reds
complement is cyan, greens
is magenta, and blues is yellow. Heres how to remember it: RGB CMY. Or look at
the Info palette where the
complement for each RGB
color is listed in the CMYK
column (ignore the black).

014

How the Black and White converter works


At first glance, the
Black and White dialog
looks like a ramped-up
Channel Mixer. The
difference is that the
Channel Mixer blends
the three primary
color channels (red,
green, and blue) to
create an effect that
emulates placing a
color filter over the lens
when shooting with

black-and-white film, for example; the effect of a yellow filter


over the lens is created in the Channel Mixer by using equal
amounts of the Red and Green channels with no Blue value.
The Black and White converter, however, affects only the
color represented by each of its six sliders: Reds, Yellows,
Greens, Cyans, Blues, and Magentas (as in the color wheel).
The Yellows slider moves only yellow values; it doesnt
change either the Reds or Greens sliders even though it
may seem logical that it would. Theres a lot of power in this
approach, especially when it comes to fine-tuning an image.
To check this out, open the colorwheel.psd file in Photoshop CS3 and double-click the layer thumbnail icon for the
Black & White adjustment layer. In the dialog, enter 50% for
all of the sliders. The result is middle gray. Click-and-drag
the Yellows slider to the right and observe: only the yellow
values get brighter. All of the yellows go white when the
slider reaches 300% (below).
Now drag the slider to the left and the yellows darken.
Drag the slider all the way to the left until it reads 200%,
and theyre now black (see next page).

BLACK & WHITE ADJUSTMENT


wheel returns black for all colors. Maximum White uses 100%
as the value for all of the sliders, producing the brightest
image and using the maximum value for the red, green, and
blue of each pixel. The color wheel is white.
You can save a Custom preset by clicking the icon to the
right of the Preset menu and choosing Save Presetuseful for
saving settings for specific printers.

Presets
When you open the Black
and White dialog, the Preset
default is None where the
RGB values total 100% and
the CMY values add up to
200%. The color wheel for
this conversion shows that
red and green are equal
values while blue is darker.
(Note: The outer ring is in color to illustrate what the layer does.)
There are ten effects in the Preset menu (not including None
and Custom). Six of them mimic the effect of colored filters that
photographers would place over the lens to control contrast
when shooting with black-and-white film. Compare what Red
Filter, High Contrast Red Filter, Green Filter, Blue Filter, and Infrared do to the color wheel. Youll notice that the Red Filter and
the High Contrast Red Filter return almost the same result.
The Maximum Black preset has all of the sliders set at 0%.
This produces a desaturated image using the minimum values
of red, green, and blue for each pixel. Applying it to the color

Custom conversions
The Black & White converter works best with a properly
exposed photograph that has good contrastholding detail
in the shadows and highlights like this image of Sycamore
Canyon near Malibu. When we add a Black & White adjustment layer, set at the defaults, its pretty flat and boring.
But if we change the Preset to High Contrast Red Filter, it
makes a big difference. Heres where we can have some fun
with the Black & White converter. Click-and-hold inside the
photograph. The cursor becomes a scrubby slider and the
colors value is highlighted in the dialog. Now, drag to the
right to brighten the color or to the left to darken it.
When the Preview box is checked on, you can see the
effect in real time. If its unchecked, the image returns to color,
which I recommend using to see which colors are available for
enhancement. For example, lets click-and-drag to the right
on the blue surf in the shaded foreground to make it brighter.
Sometimes clicking in the image cant pick a color so
try moving sliders around while watching the photograph
update. Heres a tip: Yellow is a predominant color in

Before

Auto filter

p h ot o s h o p u s e r C S 3 b o n u s i s s u e

[NAPP members may download the color wheel file at www


.photoshopuser.com/members/magcenter/2007.php]

Auto
When you click the Auto button, it looks at the relative values
and makes a well-informed best guess. Its particularly useful
in converting flat-looking, low-contrast photographs. Reset
the dialog by pressing-and-holding the Option (PC: Alt) key
(the Cancel button changes to Reset). Click on Reset and the
dialog reverts to its default settings.

015

BLACK & WHITE ADJUSTMENT


foliage so changing the amount of green will help, even
though the converter sees mostly yellows. This tool is a
playground for experimentation. In the version at left,
we reduced the Reds and Cyans and brightened the Yellows and Blues.
A word of cautionEach of the six sliders in the Black
and White dialog has a range of 200% to +300%. Working at the extremes of any of them can cause unpleasant
artifacts. Pixels, especially brighter values, can be severely
damaged with little effort. Always preview the effect at
100% enlargement and examine areas of contrast by
scrolling the entire photograph, checking it carefully for
posterization, especially in the highlights. In the image second from the top, the artifacts look like stair steps or brushstrokes instead of continuous shades of gray into white.

p h ot o s h o p u s e r C S 3 b o n u s i s s u e

Color Tints
A good black-and-white conversion is not complete unless
it leaves options for toning the final product. Thats where
the tools Tint section shines. Click the Tint checkbox to
activate it. Change the color by dragging the Hue slider
and setting the amount of the color with the Saturation
slider. Simulating traditional darkroom toning effects happens at lower saturations with most of the color showing
in the shadows and midtones. Here are cold and warm tone
versions of the surf photograph. Which is better? That
depends doesnt it?
The Black & White adjustment is a welcome addition
to Photoshops family of tools for making color into fine
monochrome. Try it and see for yourself. N

016

Kevin Ames, a commercial digital photographer, is author of Adobe Photoshop CS2: The Art of Photographing Women, Digital
SLR Photography with Adobe Photoshop CS2 All-in-One for Dummies, and the upcoming Digital Photographers Notebook:
Practical Tips for Professional Photoshop Users. You can email him at Kevin@amesphoto.com.
ALL IMAGES BY KEVIN AMES

Revamped Clone Stamp Tool


Clone from multiple sources in Photoshop CS3
NBY CO R E Y B A R K E R

Marvel the New Clone Source Palette


Anyone who has used the Clone Stamp tool knows the frustrations that can come along with it.
Perhaps two of the most annoying aspects of using this tool are trying to keep things lined up just
right when cloning and trying to resample the exact same source more than once.

p h ot o s h o p u s e r C S 3 b o n u s i s s u e

ISTOCKPHOTO/ELIZABETH SHOEMAKER

ell, the Clone Stamp tool has taken a giant step


forward in Photoshop CS3 with the addition of the
Clone Source palette. You now have the ability to
store up to five clone sources within a working image. These
sources can either be within one document or they can be
sampled over several documents. You can also modify the
width, height, and angle of any source image and choose
to Show Overlay, which is basically a ghost image that can
help you see where your source image will be put down.
Think of it as an image brush but the area you paint is determined by your brush size. You can modify the image overlay
by changing the Opacity or the blend mode.
So lets see how to take advantage of the new Clone Source
feature to achieve a bit of simple retouching. In our example,
we want to open the closed eye. Well do this by sampling and
modifying the open right eye and cloning it over the left eye.

018

[NAPP members may download the image used in this tutorial


from www.photoshopuser.com/members/magcenter/2007.php.]
STEP ONE: Select the
Clone Stamp tool (S) in
the Toolbox, then go
under the Window menu
and choose Clone Source.
At the top of the Clone
Source palette is a row
of five icons, with each
icon representing a clone
source point that you can
set. The leftmost icon is

active by default. Turn on the Show Overlay and Auto Hide


checkboxes, and turn off Invert.
STEP TWO: Go to
the inside corner of
the models right
eye. Click-and-hold
the Option (PC: Alt)
key to establish the
first clone source.
When you release
the Option (PC: Alt)
key and the mouse
button, youll see the
Overlay appear and
move around your
image as you move
your mouse. (Note:
Dont click on the
image yet.) This will
allow you to visually
line up where youre
going to paint. Just
beneath the Clone
Source icons in the
Clone Source palette,
youll see the filename for the first source.
STEP THREE: Since were going to use the right eye to
create the eye on the left side of the face, we need to
mirror flip the sampled clone source image. Go into the
Clone Source palette and
make sure the Link icon
is turned off so you can
modify the width and
height separately. Enter
100% in the Width field.
This will flip the image
horizontally. Now set
the Height to 94% and
just beneath that, set
the Angle to 6. This

REVAMPED CLONE STAMP TOOL

sides. The reflection


in the iris should be
on the same side in
both eyes. Select the
Clone Stamp tool, go
back into the Clone
Source palette, and
click the second Clone
Source icon.

will slightly distort the image to give the eye some variation from the original so that it doesnt look like an exact
mirror image.
STEP FOUR: Next, click the Create a New Layer icon at the
bottom of the Layers palette and make sure the Sample option
is set to Current & Below in the Options Bar. Then move the
cursor to the inside corner of the closed eye. Use the Overlay
image to help line up the open eye based on the closed eye.
When its lined up, click on the image.
STEP SEVEN:
Select a soft
brush with a size
thats just slightly
smaller than the
iris. Hold down the
Option (PC: Alt)
key and click in the
center of the original open eye to
establish the clone
source point.

STEP FIVE: Now start painting the eye in the image. When
you start painting, the image Overlay will disappear. This is so
you can see where youre painting easier. If you want to leave
the Overlay on, simply go into the Clone Source palette and
uncheck the Auto Hide box at the bottom. Heres where you
can also change the Opacity of the Overlay, Invert the values,
or change the blend mode.

STEP EIGHT: Then go into the new eye and line up the Overlay
image. Begin painting inside the iris until the original reflection
replaces the incorrect reflection.

STEP SIX: Now that the eye is in place, we have one little
problem. The light reflecting in her eyes is on opposite

p h ot o s h o p u s e r C S 3 b o n u s i s s u e

As you can see, being able to clone multiple sources and


modify their individual properties can save you a number of
steps, even when making the simplest changes. N

019

Quick Selection Tool and Refine Edge


Two intuitive new features in Photoshop CS3
NBY DAV E C R O S S

Taking Selections to the Next Level


Makingand tweakingselections just got a whole lot easier in Adobe Photoshop CS3,
thanks to the Quick Selection tool and Refine Edge feature. This new tool and dialog are
two of the most important new features of Photoshop CS3.

020

Selecting the
background
In our example
image, we want
to end up with a
selection of just the
dancer. For comparison purposes,
we attempted to
make our selection
using the Magic
Wand tool. After
many aborted
attempts that
involved changing
the Tolerance setting, Shift-clicking
to add to the selection, and many undos, we never achieved
a satisfactory selection. How did the Quick Selection tool
perform? Surprisingly well!
Choose the Quick Selection tool (W) from the Toolbox,
and in the Options Bar, set the Brush size. This is one of the
major factors that affects the performance of the tool, and
it can be changed using standard brush-sizing shortcuts:
Press the Left Bracket key ([) to reduce the brush size, and the
Right Bracket key (]) to increase the brush size. Use a smaller
brush to select a smaller range of colors and a larger brush to
select, well, larger areas.

DAVE CROSS

p h ot o s h o p u s e r C S 3 b o n u s i s s u e

t first glance, you may be skeptical about an automatic


tool with so few settings in the Options Bar. In fact, some
people might be reluctant to use it, putting the Quick
Selection tool in the same I-never-use-it category as the Magic
Wand or the Magnetic Lasso tools. This tool really deserves its
own this-tool-works-better-than-you-might-expect category.

After setting the


brush size, we clickedand-held the mouse
in the sky behind the
dancer. As a selection
appeared, we dragged
slightly and a large area
was selected. The Quick
Selection tool automatically senses and follows
along well-defined
edges in the image.
Unlike other selection
tools, you dont have to
hold down the Shift key
to add to an existing selection. The Quick Selection tool
makes two very clever assumptions: The default setting
is New Selection but as soon as youve used the tool, the
setting changes to Add to Selection. By dragging over the
additional areas of the background, those areas were all
selected. Although it wasnt necessary in this example, you
can make adjustments to the selection by holding down
Option (PC: Alt) to remove areas from the initial selection.
Another useful feature in the Options Bar is Auto-Enhance.
Checking this box will
reduce the roughness of
the selection edge and
automatically extends the
selection toward the edges
it can detect. Heres the
result after inverting the
selection (Select>Inverse),
copying the selection to
its own layer (Command-J
[PC: Ctrl-J]), and hiding
the Background layer by
clicking the Eye icon in the
Layers palette.

QUICK SELECTION TOOL AND REFINE EDGE

Its also important to note that, as with other selection tools,


there will be times when the Quick Selection tool wont make
a perfect selection in one quick selection. But it will often
create a selection thats a much better starting point than
you could create by hand, and that can easily be adjusted
using additional selection tools. Overall, there will likely be
many situations when you use the Quick Selection tool and
be pretty satisfied with the selection. Then you can use the
Refine Edge options to finalize your selection. N

p h ot o s h o p u s e r C S 3 b o n u s i s s u e

As we started to tweak the setting in the Refine Edge


dialog, we took advantage of the Description area at the
bottom of the dialog
that provides hints for
each of the settings.
This was a great help
because functions such
as Smooth, Feather, and
Contract/Expand were
somewhat familiar, having always been in the
Select>Modify menu,
while Radius and Contrast were not as familiar.
Using a combination of
experimentation and

reading the hints, we were able to adjust the selection until


the fringe was no longer noticeable.
Dont overlook one of the simplest, yet most advantageous
uses of the Refine Edge dialog: previewing feathering. Before
Photoshop CS3 the only way to preview feathering was to make
a selection, switch to Quick Mask mode (Q), apply a Gaussian
Blur (Filter>Blur>Gaussian Blur), and then return to Standard
mode. Thanks to Refine Edge, after making a selection you just
click the Refine Edge button, and move the Feather slider (and
other sliders if you like) to see how much feathering you need
(shown here using the On White preview).

ISTOCKPHOTO/JACOM STEPHENS

Selecting the subject


In this example, we used the Quick Selection tool to select the
dancer directly, instead of selecting the background and inverting the selection. By using a slightly smaller brush size, we were
able to create an accurate selection very quickly.
The other significant addition to the world of selecting is the
Refine Edge button, found in the Options Bar for each selection
tool and enabled once a selection has been made. Clicking this
button opens a dialog filled with selection goodies that previously you had to use blindly (without a preview). Take advantage of the various preview icons across the bottom: Standard
(marching ants), Quick Mask (colored overlay), On Black (view
the selected area on a black background), On White (view the
selected area on a white background), or Mask (black-and-white
mask). (Hint: Press F to cycle through the various views.)
In our example, we clicked the Refine Edge button after
we made the selection of the dancer with the Quick Selection
tool. Here are the default settings in the Refine Edge dialog,
using the On Black preview option. Notice how theres a
slightly noticeable light-colored fringe around portions of the
imageand how much easier it is to see that fringe using the
On Black preview.

021

Photoshop CS3 Q & A


Answers to some Photoshop CS3 questions
NBY SCOT T KELBY
Q. I previously used the Photomerge feature in Photoshop for
stitching my panoramas together, but when I choose it from
the Automate menu, and choose Auto as my option, it doesnt
bring up the Photomerge dialog anymoreit just stitches
them together automatically, with no input (or editing) from
me. Is the Photomerge dialog gone for good?
A. Its still thereyou just have to know where to look. It starts
the same way by going under the File menu, under Automate,
and choosing Photomerge, but when the initial Photomerge
dialog appears, youll need to choose Interactive Layout
instead of Auto. It will still try and stitch your pano together
but now youll have access to the regular Photomerge dialog
from versions past.

p h ot o s h o p u s e r C S 3 b o n u s i s s u e

ISTOCKPHOTO/REN MANSI

Q. What happened to the Feather command in CS3? I see that its


now in the Refine Edge dialog but did Adobe remove it from
the menus altogether?
A. Its still therethey just moved it. Its now found under the
Select menu, under Modify. The old keyboard shortcut, OptionCommand-D (PC: Alt-Ctrl-D), still works to bring it up. (Note: Mac
users, if this keyboard shortcut hides and reveals the Dock, go
to your System Preferences, under Keyboard & Mouse, under
Keyboard Shortcuts, under Dock, Expos, and Dashboard, and
uncheck Automatically Hide and Show the Dock.)

022

Q. Is there a way to get the Toolbox back to the two-column


CS2 version?
A. Absolutely! Just click on the two arrows at the top of the
CS3 single-column Toolbox and the familiar two-column
Toolbox returns.
Q. Is there any visible difference between the Extended edition of
Photoshop CS3 and the standard edition?
A. On first glance, the only difference is that the Extended edition
has an Analysis menu at the top that the standard edition
doesnt have. Of course, once you start opening some of the
features in the Extended edition (such as the video layers,
or 3D layers, or any one of the Extended features), then it
becomes pretty obvious something is very different.

Q. I heard that in CS3 you can make the Clone Stamp tool ignore
any adjustment layers youve added to your document. Is this a
preference setting? Where do you turn it on?
A. First, select the Clone Stamp tool (S). Then go up in the Options
Bar, and to the immediate right of the Sample pop-up menu
(the default is Current Layer, but youll need to select on of the
other Sample options), youll find a little icon that toggles this
feature on and off.

Q. In Bridge CS3, when youre viewing photos in Bridge as a fullscreen slide show, is there any way to stop, edit a file, and pick
up the slide show where you left off?
A. Well, if youre shooting in RAW there sure is. Heres how it
works: When youre watching the slide show (View>Slideshow)
and you see a RAW photo you want to tweak, just press
Command-R (PC: Ctrl-R) to pause the slide show and open

your photo in Camera Raw. You can make the edits you need,
then click the Done button to return to the slide show, and the
preview updates. Now just press the Spacebar to continue on
with the slide show.

youre using. Just look up in the Options Bar and youll see a
button for Refine Edge.

Q. What does the Use Legacy checkbox do in the Brightness/


Contrast dialog?
A. Brightness/Contrast has been improved in CS3, so if you turn
this checkbox on, it returns the Brightness/Contrast command
to how it used to work back in previous versions of Photoshop.
(Were not sure work is the right term here. It was more like
destroy.) So, if you want the Brightness and Contrast control
to suck less, leave the Use Legacy checkbox turned off. That
way, you get the advantage of the improvements to Brightness and Contrast added in CS3.

Q. Is the new Refine Edge dialog only available when youre using
the new Quick Selection tool?
A. Nope. Luckily, Adobe made this amazing feature available any
time you make a selection, no matter which selection tool

Q. I heard there is a way to use the Shadows/Highlights as an


adjustment layer in CS3, but it never appears under the
Create New Adjustment Layer pop-up menu no matter what
I try. Whats the trick?
A. The trick is that its not really an adjustment layer, but its the
next best thinga Smart Filter layer. By letting you apply
Shadow/Highlight as a Smart Filter, you get the nondestructive
features of an adjustment layer (like the ability to Undo at any
time, and edit the settings any time; plus, like an adjustment
layer, it comes with its own layer mask), but its not a Filter (and
not found under the Filter menu). You start by going under the
Filter menu and choosing Convert for Smart Filters. Then, you
go under the Image menu, under Adjustments, and choose
the only item thats not grayed-out: Shadow/Highlight. It comes
up, and you apply it just as you always would, but then look in
the Layers palette (as shown
here), and youll
see Shadow/
Highlight has
been applied
as if it were a
Smart Filter, so
you can turn it
on, turn it off,
change the settings, and paint
on the mask. Q

p h ot o s h o p u s e r C S 3 b o n u s i s s u e

ISTOCKPHOTO/KEVIN RUSS

Q. Is there a way to turn off the little pop-up Tool Tips in CS3?
There used to be a checkbox for turning them off in the Photoshop General preferences but its not there anymore. Are they
just on now, forever?
A. Thankfully, no. Theyve just been movednow they appear
under the new Interface preferences. Youll find them by
opening the Photoshop preferences (Command-K [PC: Ctrl-K]),
then clicking on Interface from the list of preferences on the
left side of the main Preferences dialog, and unchecking Show
Tool Tips.

023

Smart Filters
Revel in the control of nondestructive editing
NBY DEKE M cCLELLAND

The Power of Smart Filters


In this column, well give you a sense for how smart filters work by applying some detail
sharpening and high-key softening to a photograph. Along the way, youll learn the basics,
including how to apply a smart filter, modify it, and change its blend settings.

p h ot o s h o p u s e r C S 3 b o n u s i s s u e

1. This is the first time that particular text has appeared


as I originally wrote it. At the time, my editor pronounced
my conclusion depressing, diluted my concerns, and
inserted her own conclusion that began, and I quote:
But these are quibbles for the hard-core Photoshop
geek. Nice.

028

2. Photoshop 7 turned out to be the exception that proves


the rule. After the programs release, Adobe immediately
got back on the nondestructive course with Camera Raw,
layer comps, program-wide support for 16-bit/channel
images, Bridge-based metadata edits, and smart objects.
And in Photoshop CS3, Adobe puts to rest the last of my
quibbles by adding editable, nondestructive filters. The
only difference is the name. What I called dynamic filters,
Adobe calls smart filters.
Apply a smart filter
In this example, well be using a terrific image from iStockphoto photographer Joey Nelson. Before you can take advantage of smart filters, you need to turn the image into a smart
object. The easiest way to do that is to choose Filter>Convert
for Smart Filters. Photoshop warns you that youre converting
the layer to a smart object, which is precisely what you want,
so feel free to turn on the Dont Show Again checkbox and
click OK.

ISTOCKPHOTO/JOEY NELSON

n 2002, I wrote a preview of Adobe Photoshop 7 for


another magazine. Although I praised the program for
its File Browser, expanded Brushes palette, and Healing
tools, I lamented its lack of ambition in the parametric
department. After four back-to-back upgrades in which
Photoshop blazed new trails in nondestructive image editing, version 7 abruptly dropped the ball and focused its
energies on static pixel modifications. Among my concerns
was the following: Photoshops wealth of effects filters
remains unchanged and static, despite the introduction of
equivalent dynamic filters in other programsincluding
Adobes own Illustrator and After Effectsseveral years
ago. I mention this for two reasons:

In the Layers palette, notice that the image thumbnail now


bears a little page icon, showing that its a smart object. For
the sake of tidiness, double-click the layers name and rename
it Image. Then, choose Filter>Sharpen>Smart Sharpen to
apply Photoshops most capable sharpening filter. (Note that
the smarts in Smart Sharpen, which is really good, and smart
filter, which is nondestructive, are unrelated.) In this case, we
set the Amount to 200% and raised the Radius to 2.0 pixels.
Because this is a digital photograph, we also changed the
Remove setting to Lens Blur. Apply whatever settings you like,
then click the OK button to apply the effect.

SMART FILTERS

Next, lets add a blur effect. Choose Filter>Blur>Gaussian


Blur and set the Radius value to something in the neighborhood of 5 pixels. Photoshop adds the Gaussian Blur effect
underneath the Smart Filter entry in the Layers palette. At
this point, you can change the order of the filters by dragging
them up and down the list, turning them on and off by clicking the Eye icons, or modifying the settings by double-clicking on one of the filter names.
You can even change the opacity and blend mode assigned
to a smart filter. (Note that were not changing the blend mode
of the layer, but the effect itself.) Control-click (PC: Right-click)
on the Gaussian Blur item in the Layers palette and choose
Edit Smart Filter Blending Options. Or double-click the tiny
sliders icon to the right of the words Gaussian Blur. Either
way, Photoshop brings up a dialog in which you can adjust the
Mode and Opacity settings. I say we set the mode to Overlay

and the Opacity to 70%. Assuming the Preview checkbox is on,


the image window shows the image, Smart Sharpen effect, and
Gaussian Blur effect all working together. The result is a diffused
high-key effect. (image at bottom left).
Now the sharpening effect seems overdone. So double-click
the tiny sliders icon to the right of Smart Sharpen in the Layers
palette. Because this effect is at the bottom of the Smart Filter
list, you get a warning that the preview will not include effects
that are stacked on top of the filter being editedin this case,
Gaussian Blurbut they will be applied after you apply your
changes. Its not the ideal situation, but every new feature has
its growing pains. Click OK to move along.
In the subsequent Blending Options dialog, set the Mode
to Luminosity to eliminate any color sharpening. Then, reduce
the Opacity value to 40%. Click OK to see all editable, nondestructive filters applied to the image, brought to you by the
power of smart filters in Photoshop CS3.

Once upon a time, I would hardly have dared believe that


nondestructive sharpening and blurring would be possible.
But time and progress encourage heightened expectations,
so naturally I have dreams that remain unfulfilled. In a perfect Photoshop, all edits would be 16-bit and nondestructive. Filters and color adjustments would be streamlined and
prioritized. Automated masking functions would produce
credible results, and I might even have access to layers when
building alpha channels. Actions would be conditional,
color management would always work, and the program
in general would make a lot more sense.
And lest you mistake my latest list for depressing, its
actually a message of faith and hope. Adobe has managed
to address virtually every complaint I had five years ago, not
to mention throwing in a hundred or so features that never
occurred to me. Theres no reason to think that five years from
now the picture wont look equally rosy. Who knows, it could
even make a hard-core Photoshop geek like me stop quibbling. In the meantime, bless you, Smart Filtersyou inspire
me to wish for more. N

Deke McClelland is author of Adobe Photoshop CS2 One-on-One (Deke Press/OReilly Media) and host of the online video series
Photoshop CS2 Channels & Masks and Photoshop CS3 Beta One-on-One (www.lynda.com).

p h ot o s h o p u s e r C S 3 b o n u s i s s u e

Edit the smart filter


You can now see a new Smart Filters item inset below the
Image layer in the Layers palette. Inset below that is the Smart
Sharpen filter. This is an entirely editable effect. To change
your settings, just double-click on the words Smart Sharpen,
and up pops the Smart Sharpen dialog again for further
adjustments. We decided to seize the opportunity by changing the Amount value to 300% and clicking OK.

029

Video in Photoshop CS3 Extended


Making video an easy addition to your creative workflow
NBY R O D H A R L A N

Taking Your Skill Set to the Next Level


Even if youre someone who has never worked with video files, theres a lot to love about the
video features in Adobe Photoshop CS3 Extended. It opens the door for video-effects work to
be done by a whole new generation of artists!

p h ot o s h o p u s e r C S 3 b o n u s i s s u e

hotoshop CS3 Extended incorporates tools specifically crafted for postproduction video work that arent
available in the standard edition. It has all of the
comprehensive toolsets of the standard edition of Photoshop but adds powerful new features and enhancements
designed for the needs of creative professionals who work
with film and video. It also opens up a whole new world of
possibilities for graphic designers and digital photographers
who want to take their existing skill set and apply it to a
new medium: video.
Some of the new possibilities include: Easily navigating
and working with film, video, and animation files in the
enhanced Animation palette. Movie Paint allows painting,
cloning, and healing on every frame of a movie file (use these
editing tools in conjunction with the Onion Skinning control
so you can see the frames before and after the one youre
editing). And even take existing Photoshop layered graphics,
animate them, and export a fully animated and rendered
video fileall from within the new Photoshop CS3 Extended.
It starts with the Animation palette (Window>Animation),
which at first glance looks exactly like it did in Photoshop
CS2. But if you look closely, youll notice a new toggle switch
located in the bottom right-hand corner of the palette. When
pressed, it reveals a full video editor Timeline.

030

This new Timeline view has all the same layers that are in
your Layers palette, plus some extras. The extra layers allow
you to apply and animate global lighting controls to your

layers and attach comments at specific frames. Its important to


remember that each layer in the Timeline is directly connected
to each layer in the Layers palette so when you select a layer in
one place, its automatically selected in all relating palettes.
Video basics: Duration and Frame Rate
First and foremost, to work with video in Photoshop CS3
Extended, you must install QuickTime 7.1 (or higher) on
your computer. (QuickTime is a free download from www
.apple.com.) The next thing you want to do when setting up
the Timeline for your project is determine the duration of the
animation youre about to create. You do this by opening the
Document Timeline Settings dialog, which you access by clicking on the Animation palettes flyout menu (found just under
the X located in the top right-hand corner), and choosing
Document Settings. This dialog is where you choose both your
Duration and Frame Rate.
Duration is the overall time length of the video clip in the
document or of the animation you want to create. By default,
if you havent imported a video clip, the Timeline will be set
to a 10-second duration. However, if youre working with,
say, a 30-second video clip, the document will automatically
adjust the Timeline to 30 seconds. One important note: If
you reduce the duration of an existing Timeline, it has the
effect of trimming frames (including keyframes) from the
end of your Timeline.

The type of output you plan to produce usually determines


the Frame Rate (frames per second [fps]). For example, NTSC
video has a frame rate of 29.97 fps; PAL video has a frame rate
of 25 fps; and motion picture film has a frame rate of 24 fps.
Depending on the broadcast system, DVD video can have the
same frame rate as NTSC video or PAL video, or a frame rate of
23.976 fps. Set your frame rate to whatever type of output you
intend to deliver.

VIDEO IN PHOTOSHOP CS3 EXTENDED

Saving your animation


Now that you have a completed animation, you have several
options of what to do with it. You could save it as a PSD file
and then import it into Adobe After Effects for more advanced
compositing and special effects or, if you like it just as it is,
save it as a video file. The secret to this is not found in the
Save As menu command; instead, you need to go to the
Export menu and choose Render Video.
This will bring up the Render Video dialog. The options
may seem overwhelming at first but there are only a few you
really need to worry about. Name your MOV file and select
which folder you want to save it to on your hard drive. Click
on the QuickTime Export pop-up menu and choose which
type of video file you want to create. Whether its going to a
cell phone, an iPod, or to a broadcast-quality television show,
all of those options are available here. In fact, if you have
Flash 8 or Flash CS3 installed on your computer, you can save

your video to an FLV file, as well. Lastly, if youve already set


up your document settings the way that you like (with Frame
Rate and Duration), you can skip everything else and just hit
the Render button.

So what can you do with all of this? Just about anything


your creative mind can think of! Drag-and-drop any video
clip in Photoshop CS3 Extended and it turns it into a video
layer. You know its a video layer when you see the little filmstrip icon in the Layers palette.

Now do all the cool things to your video that you would
normally do with a still image. Change its hue and saturation.
Convert it to black and white. Add a layer mask and only let
certain objects show through in full color. Apply the Healing
Brush or Patch tools to clean up areas of your video clip. You
can even use the Clone Stamp tool to clone pixels from one
area of your video to another. The possibilities are limited
only by your imagination! N
Rod Mac Daddy Harlan is the Founder and Evangelist of
the Digital Video Professionals Association (www.dvpa.com).
The DVPA Online University has more than 40,000 streaming
video training files for all of the Adobe applications (as well
as Microsoft and Apple applications). He can be reached at
rod@dvpa.com.

p h ot o s h o p u s e r C S 3 b o n u s i s s u e

A key to easy animation


Next youre going to want to set keyframes, which are points
in the Timeline where you want an action to take place. The
cool thing about keyframes is that you only have to set a few
of them in your Timeline and the computer will interpolate
all of the action required to take place in between each set
of keyframes.
For example, lets say we want to animate a title slide for
Adobes Sr. Creative Director, Russell Brown. All we have to do
is set keyframes for the Position property of the text layer. To
do this, click the arrow next to the text layer in the Animation
palette to open the layers properties (Position, Opacity, Style,
and Text Warp). Next, with the Current-Time Indicator (CTI) at
0 seconds, click on the Time-Vary Stopwatch icon located to
the left of Position. Then, move your CTI to a different point
in your Timeline, say, at the 6-second mark. Choose the Move
tool (V) and reposition the text to where you want it to end up
at the 6-second mark. As soon as you let go of the mouse button (releasing the text), a new keyframe is set in the Animation palette. To see your animation working, just click on the
Play button in the bottom left-hand corner of the Animation
palette or simply hit the Spacebar key to cycle the animation.

031

Auto-Align Layers
A welcome addition to the king of photo-compositing tools
NBY T ERRY WHI TE

Aligning Layers in Photoshop Just Got a Lot Easier


Adobe Photoshop is the ultimate compositing tool for combining multiple images into a single
image. This is one of the main things that sets it apart from apps such as Photoshop Lightroom.
In Photoshop CS3, aligning those layers just got a whole lot easier.

p h ot o s h o p u s e r C S 3 b o n u s i s s u e

hotoshop CS3 now includes an Auto-Align Layers


command thats designed to automatically align layers
based on similar pixels that exist in the different layers,
such as a background or other object that exists in each
layer. For example, if you took several handheld shots of a
model who moved his or her head slightly, youd be able
to combine those multiple shots into a single Photoshop
document on multiple layers and then use the Auto-Align
Layers command to have Photoshop automatically analyze
the layers and align them based on similar content. The result would still be one multilayered Photoshop file; however,
the images would be perfectly (or very closely) aligned on
top of each other so that all youd have to do is clone or mask
the areas that needed retouching. This is great for replacing
or deleting parts of an image that have the same background, because you can easily mask or clone from one layer
to another.

032

Setting up
To use the Auto-Align Layers
command, open two or
more images, choose the
Move tool (V), and Shift-drag
the images into a single
document. Unlock the Background layer by clicking the
Lock icon and renaming the
layer. Select all layers in the
Layers palette then, with the
Move tool still active, click
the Auto-Align Layers icon at
the right of the Options Bar.
You can also choose Edit>Auto-Align Layers to bring up the
Auto-Align Layers dialog. In the dialog, youll notice that there
are four options and the default setting is Auto. In this mode,
Photoshop analyzes the source images and then applies
either a Perspective or Cylindrical layout, depending on which
produces a better composite.

Photo 1 layer

Photo 2 layer

Result of using Auto-Align Layers and a layer mask

AUTO-ALIGN LAYERS

When should you use it?


Chances are if youre shooting a panoramic image, youll want
to continue to use the Photomerge feature because it would be
an extra step to open your images and combine them into one
image with multiple layers. If youre creating your own designs
or using images from different sources, the Auto-Align Layer feature may be the way to go. Once you align your layers using the
Perspective setting, you may notice that the blending is off. This
could be due to different exposure settings between the shots.
Along with the Auto-Align Layers feature, Photoshop
CS3 includes an Auto-Blend Layers command, also located

in the Edit menu. Its designed to automatically blend


the color differences of the overlapping layers together.
So rather than using the Clone Stamp tool to fix the differences in the shades of blue in the sky, you could try
Auto-Blend Layers. Keep in mind that this feature is not
tied to the Auto-Align Layers feature; therefore, you can
run it anytime you have an issue matching background
colors between layers.
The third option in the Auto-Align Layers dialog is Cylindrical, which is designed to reduce the bow-tie distortion
that can happen with the Perspective layout by showing
individual images as if on an unfolded cylinder. The overlapping content across the layers is still matched up, and the
reference image is placed at the center. This is best suited for
creating wide panoramas.
Lastly, theres the Reposition Only option. This allows you
to align layers and match overlapping content, but it doesnt
transform (stretch or skew) any of the source layers. In other
words, this command simply moves the layers in place even
though the perspective may still be off.
No matter which option you choose, your resulting composite will still be a multilayered Photoshop file. So if something doesnt quite align or blend the way you want it to,
you can still use the Free Transform command (Command-T
[PC: Ctrl-T]) to fine-tune the alignment. You can also use the
standard Photoshop commands to make tonal adjustments
to even out exposure differences between layers.
A welcome addition to the king of photo-compositing tools,
Auto-Align Layers becomes even more useful in Photoshop CS3
Extended for working with imported video clips to layers. N

After using Auto-Align Layers Perspective

After using the Auto-Blend Layers command

In his current role as Director for North America Creative Pro Core Business for Adobe Systems, Inc., Terry White leads a team of creative
professional product specialists. He is also the author of Secrets of Adobe Bridge and co-author of InDesign CS/CS2 Killer Tips.
IMAGES COURTESY OF ADOBE SYSTEMS INC.

p h ot o s h o p u s e r C S 3 b o n u s i s s u e

Whats the difference?


The Perspective setting is useful for creating panoramic
images from a single multilayered Photoshop file. Thats how
it differs from the Photomerge command (File>Automate>
Photomerge). When you use Photomerge, youre running it
on multiple individual documents to create your panoramic
stitched photo. In fact, the new Photomerge in CS3 looks
almost identical to the Auto-Align Layers dialog, except
youre choosing individual files instead of layers. Prior to the
Auto-Align Layers feature in CS3, this was the only way to
automatically stitch multiple photos together.
Photomerge hasnt gone away, but now you can use the
Auto-Align Layers command to achieve the same effect with
a single Photoshop file that contains multiple layers. Select
Perspective in the dialog and click OK. Perspective creates a
consistent composition by choosing one of the source images
as the reference image. The remaining images are then transformed (repositioned, stretched, or skewed, as necessary) so
that overlapping content across layers is matched.

033

Little-Known Changes
Hey, did you notice?
NBY T ERRY WHI TE

Little Things that Make Photoshop CS3 Better


Whenever theres a new version of Photoshop, people concentrate on the big things (adjustment
layers in version 4, editable text in 5, shape layers in 6, etc.); however, there are always dozens of little
things in each new version that never make it to the back of the box.

he first area of improvement is performance. Photoshop CS3 launches at least twice as fast as Photoshop
CS2. These few seconds of time saved each day will
add up to minutes and hours during this versions lifespan.
Youll also notice faster, smoother onscreen display, faster
brushing performance, and accelerated filter previewsthe
kinds of things you dont see under the menus; you just
experience them as youre working in the application.

p h ot o s h o p u s e r C S 3 b o n u s i s s u e

Bridge CS3
The biggest complaint about Bridge CS2 was performance
and now Bridge CS3 is much faster. And Bridge also has
several little enhancements to make it easier to work in.
Photographers will appreciate the ability to stack images.
A little-known feature about Stacks is how you select a stack:
When you click on top of the stack, it selects only the top
image in the stack butif you click just to the right of the stack
on the outer outline, it selects all the images in the stack. Now
you can just double-click to open all of the images at once.

034

Another cool hidden attribute of Stacks is that if you stack


ten or more images together, you can actually play them
back as a video/animation in the Bridges Content panel.
You may want to increase the size of your thumbnails to see

the controls better. If you dont want to play them, you can
simply scrub through them as you would a video clip in a
video player.
Bridge CS3 also has a Photo Downloader so, instead of
relying on other methods to get your images from your
memory card to your hard drive, you can have Bridge bring
in those images and put them in your folder of choice. Not
only thatyou can also have the Photo Downloader rename
the images, convert them to DNG, make a backup copy, and
apply a metadata template, all in one fell swoop.
In addition, Bridge CS3 has a new Reject flag: Just press
Option-Delete (PC: Alt-Backspace) on the image and its
labeled as a reject. When youve rated all your rejects, just
click Reject in the Filter panel. If you want to hold on to your
rejects (I dont know why), merely hide them by going to the
Bridge menu and navigating to View>Show Reject Files.
Camera Raw version 4
Here are a few of the not-so-obvious things about the
brand-new version of Adobe Camera Raw 4 that ships with
Photoshop CS3. First, the line between RAW and JPEG/TIFF
files just got a little more blurry because Camera Raw 4 can
now work with JPEGs and TIFFs as well as RAW files. I still
recommend shooting in RAW if your camera allows; however, for those stuck with JPEGs or TIFFs, you can now easily
make the nondestructive tonal corrections that weve been
enjoying with RAW files for years. Just select the images in
the Bridge and hit Command-R (PC: Ctrl-R) and youll start
editing in the Camera Raw dialog. Youll also notice that the
Highlight/Shadow clipping checkboxes are gone; now you
just click on the triangles at the top of the histogram in the
Camera Raw dialog to turn on these warnings.
Refine your edge
How many times have you made a wrong guess when you
feathered a selection? If youre like the rest of us, you key in an
arbitrary number, and hope for the best. In Photoshop CS3,
the new Refine Edge dialog takes the guesswork out of this.
After you make your selection with your favorite selection
tool, click the Refine Edge button in the Options Bar and you

LITTLE-KNOWN CHANGES

New algorithms for Brightness/Contrast


As a professional Photoshop user, the first time you used
Brightness and Contrast, you probably vowed never to use
it again. Brightness and contrast are terms that anyone can
understand; however prior to CS3, the implementation of
this simple concept in Photoshop produced less than desirable results. Now Brightness/Contrast (Image>Adjustments>
Brightness/Contrast) no longer pushes the data outside the
acceptable range of your imageits useful. Sure Levels and
Curves adjustments are still more precise, but give Brightness/Contrast a try; youll be much happier with the results.
(If you dont believe me, check the Legacy box on and try it
to see how bad it used to be.)
Levels and Curves
Speaking of Levels and Curvestheyve been improved too.
You now have a histogram behind the Curves display so you
can see where the data is. And, if you hold down the Option
(PC: Alt) key while dragging the highlight/shadow triangles
in Curves or Levels, it shows an interactive clipping display.
Better Photomerge
In most Photoshop CS3 demos, youll see the new AutoAlign Layers and Auto-Blend Layers features. But did you
know that Photomerge has the same better alignment and
blending feature so you can produce better panoramic
stitches the first time you use it? When you bring up the
Photomerge dialog (File>Automate>Photomerge), it looks
identical to the Auto-Align Layers dialog with the same
options except that it also has a file Browse interface for you
to choose which files or folders to use. Also, notice the Blend
Images Together checkbox so that you dont have to do it in
two steps.
Wheres Print with Preview?
In the new Print (File>Print) dialog, youll see a preview
of what youre about to print and printing is a lot more
streamlined in Photoshop CS3. All of the separate places you
needed to visit are now consolidated into one print dialog:
You can change the orientation of your print, choose the
printer, get to the Page Setup, and now for the first time,
not only can you choose your Color Management, you can
also see the preview color managed.
PDF Presentations
If I had a nickel for every time I showed someone the PDF
Presentation feature (File>Automate>PDF Presentation)
in CS2 and they asked, Can I add my copyright or a title to

the photos?Id be on my island somewhere enjoying the


sunset. In Photoshop CS3, PDF Presentation just got a whole
lot better. You can now pick a Background color and add
Filename, Title, Description, Author, Copyright, EXIF Info, and
Annotations to your PDF from the files that you include. You
can even pick the Font Size.

Wheres ImageReady?
ImageReady has been discontinued as of Photoshop CS3.
Before you go out on that ledge, however, youll be happy
to know that the remaining functionality that existed in
ImageReady CS2 and not in Photoshop CS2 has been rolled
into Photoshop CS3 and CS3 Extended. So theres really no
reason to have a separate app. Most users wanted this all
along anyway.
Save for Web and Devices
All of the CS3 apps now come with a device prototyping tool
called Device Central. Say you want to design wallpaper in
Photoshop for your cellphone but its a challenge to know
how big to make it. And youll want to know how it will look
under various conditions. Now, when you create your design,
you can choose File>Save For Web & Devices and click the
Device Central button in the bottom-right corner of the
dialog. When Device Central launches, your image will appear
on the default device and from there you can choose other
devices on which to preview it.
Also it works the other way around too: You can first launch
Device Central (File>Device Central) and ask Device Central
to create a brand-new Photoshop file to match the size of a
selected device. This way, you can build your image and know
that its the correct size right off the bat.
Export>Zoomify
If you ever want to show your client a photo in full detail
(without actually giving them the photo), check out the new
Export>Zoomify command under the File menu. Using this
tool, you can build a simple website with a Flash front end
that allows you to zoom in on your photo and pan around it
on the Web. N

In his current role as Director for North America Creative Pro Core Business for Adobe Systems, Inc., Terry White leads a team of creative
professional product specialists. He is also the author of Secrets of Adobe Bridge and co-author of InDesign CS/CS2 Killer Tips.
IMAGES COURTESY OF ADOBE SYSTEMS INC.

p h ot o s h o p u s e r C S 3 b o n u s i s s u e

can see the effect of your feather amount as you drag the
slider. And a plus is that you can also click the little Zoom
tool in the Refine Edge dialog to zoom in on your image
without leaving the dialog.

035

Output in Photoshop CS3


At the end of the workflow
NBY MAT T K LOSKOWSK I

Whats Next? Getting Your Images out of Photoshop


By now youve probably seen all the cool new things that make it better and easier to change
the way your images look in Photoshop. Now its time to see what Adobe has improved to get
your images out of Photoshop.

change. You can also change printers at the top of the dialog. Look below the preview area and youll see the ability
to change the print orientation from landscape or portrait
without going into a different dialog. Finally, one little
cool feature is the way the Print Resolution appears at the
bottom of the Scaled Print Size section. Now when you
change your scale settings, this readout will automatically
change to reflect the resolution at which the image will
print. Its a small thing but one of those simple enhancements that makes using the dialog easier.

here are plenty of new, powerful features for editing


images in Photoshop CS3. However, some things have
snuck under the radar, which are equally as powerful,
and they are the new output options available in CS3 (by
output I mean print, Web, and email). Adobe has tweaked
a few things to make the output options more usable but
theyve also addressed a couple of important needs in the
industry for getting your work out there and in the right
format. Lets take a look:

036

Zoomify
If youre showing off your photos on the Web, then youll
love this one. What are two of the biggest hassles with
viewing high-resolution photos on the Web?
1. File Size: The file size of large photos often makes it
prohibitive to put them on a webpage. This happens
mainly because of bandwidth constraints. It may not be
a problem for one photo, but a full Web gallery could
bring someones pleasant Web viewing experience to a
screeching halt.

MATT KLOSKOWSKI

p h ot o s h o p u s e r C S 3 b o n u s i s s u e

One-stop printing
The first of these improved output features is the Print
dialog, which works much more intuitively now. One thing
to keep in mind is that printing hasnt changed; the same
features are still there but now theyre easier to get to.
For example, one of the first things youll notice under the
File menu is that the Print with Preview option is missing.
Actually, its not missingits outright gone. Thats right,
its all done in one place now: the Print dialog.

The next thing youll notice is that all the Color Management and Output options have been moved over to the
right side of the Print dialog, but thats just an organizational

2. Screen Size: The other problem with large photos is


the physical dimension (width and height) of those
files. Most screens cant display the full size of the
photo without causing you to scroll, so if you dont
have a huge screen, then your viewing experience will
be reduced.
Enter the new Zoomify feature in CS3. Using Flash technology, Zoomify makes it possible to display high-quality
images on the Web, allowing the user to pan-and-zoom
the images in a fast, interactive Web view. Its actually
really cool stuff because it includes everything you need
right on the image and it downloads really quickly.

OUTPUT IN PHOTOSHOP CS3

ISTOCKPHOTO/JAAP HART

To use Zoomify, first open an image that youd like to


display. Then, go to the File menu in Photoshop and choose
Export>Zoomify. The Zoomify Export dialog will open and
give you a few quick options. Choose where you want to
store the files that Zoomify creates. Next, since Zoomify uses
the JPEG file format, you need to choose a Quality setting.
Typically for my JPEGs, I choose a setting from 8 to 10. The
Optimize Tables setting is just like the Optimized setting in
the Save for Web dialog. Itll probably save a few percentage
points on the file size but it wont make a huge impact, so I
usually leave it turned off.
The last section is the Browser Options. This just tells
Photoshop how large you want the preview area to be in the
Web browser. Since huge images onscreen are what were
trying to avoid here, we tend to keep the size setting to a
maximum of 600 pixels, but that could be larger depending
on your webpage. When youre done, click OK, and Photoshop will generate a webpage with the Zoomify image
embedded in it. You can then pan around the image to see
different parts and even zoom in to really see the details.

p h ot o s h o p u s e r C S 3 b o n u s i s s u e

PDF Presentation
The PDF Presentation automation is one of those features that really makes it much easier to send multiple
images to a client for review. You can just drop a PDF
Presentation into an email and youre set. The previous
version of PDF Presentation was lacking in a few areas,
but CS3 has addressed those issues. The main new
feature in CS3 is that you can now add the filenames
on each image in the PDF. This is important because
your client needs a way to tell you which images they
like the best as they look through the PDF. Without the
filenames, youre making it a lot more difficult and prone
to error; for example, if a client tells you, I like the 32nd
image, instead of telling you the exact name of the fi le
they like the best.
To get to the PDF Presentation automation, go to the
File menu and choose Automate>PDF Presentation. In
the PDF Presentation dialog, youll see an entirely new
section called Include. At the top of the list of items that
you can include with each image is the Filename. Just
check it and the filename will now show up under each
image in the final PDF. Sweet!

037

OUTPUT IN PHOTOSHOP CS3

Device Central
Finally, theres Device Central.
Over the last few years, designers have been increasingly
asked to make sure their
graphics look good on mobile
devices. As these devices
become more popular, that
demand will continue to grow.

Adobes answer to this is called


Device Central. With Device Central you can design, preview, and
test graphics for mobile devices
all in one place. While much of
the integration features of Device
Central are tied to Dreamweaver
and Flash (for developing the code
that runs the mobile content), you
can also integrate this feature with
Photoshop when it comes to making the graphics look great.
To preview a file in Device Central, go to the File menu and choose
Save for Web & Devices. In the Save
for Web & Devices dialog, click on
the Device Central button at the bottom-right corner. When
Device Central opens, youll have a full-featured interface
for ensuring your mobile content looks, acts, and plays the way
that you intended.
As you can see, with each new version of Photoshop, we not
only get new tools for making the production side of things
easier but also new features that make it easier to output our
images, making them look as good as they can be. N

JOinthe

p h ot o s h o p u s e r C S 3 b o n u s i s s u e

Illustration
Nation

038

THE REVOLUTION NEEDS YOU!

 
  
   
/ 
+
1  Adobe Illustrator Techniques '
 -3/-  1  --//3
--//)  3/ - ,
+  ./  2 4 
3/ 0 3'
3/5-+ /-   --/ 0-/ 

&/ - 0- 1,


  -/+1
--3/ / 0 +
+1 / -+ 2-/ 0
3/15+31 -
Nows the timejoin the Illustration Nation.
Special Bonus - &/ 1+
 Adobe
Illustrator Techniques booklet of 101 brilliant tips.
$

#" *

79.95
*%

"$$!!%&

69.95
*%

(& -3++ - - 

CALL TODAY 866-765-2020 OR SUBSCRIBE ONLINE


AT WWW.ILLUSTRATORTECHNIQUES.COM.
Adobe and Illustrator are registered trademarks of Adobe Systems Incorporated.

Adobe Camera Raw 4


The best just got better
NBY KE VIN AMES

RAW Power in Your Workflow

he functionality packed into this plug-in is stunning


and the latest version now supports more than 140
different flavors of RAW files from various camera
manufacturers. The toolset in Camera Raw continues to
mature, providing photographers with an easier and more
efficient workflow. There are two new tools in Camera Raw 4
(ACR 4) that have been a photographers fondest wish: the
Retouch tool (B) and the Red Eye Removal tool (E). Another
new icon in the toolbar opens the Camera Raw Preferences.
And finally, theres the new Toggle Full Screen Mode (F) icon.

appears in an area of similar detail. This is the source of the


healing or cloning. Click inside the green circle and drag it to
choose a different source in case Camera Raw chooses poorly
(it rarely does). You can also click the edge of the red circle and
drag to resize it.
After youve done some dust spotting for a while, your
image will have multiple circles denoting the points of
retouching. If this is annoying, uncheck Show Overlay. Clear All
removes all of the work allowing a fresh start. The Radius
slider displays the size of the currently active circle in pixels.
And yes, the Retouch tool works on skin blemishes, too (dont
tell anyone).

Heal and Clone in Camera Raw


Sensor dust is an undeniable, unfortunate, and unavoidable
reality of digital photographic life. The Retouch tool to the
rescue! The humongous hair shown here is easy to fix (okay,
it looks humongous at 100% view which is the view to use
when dust-spotting RAW files). Choose the Retouch tool and
then Heal from the Type pop-up menu. Click in the
center of the dust, drag until the red circle covers
the mark, and then release the mouse. A green circle

Refreshed interface
All of the ACR 3 functions are still available but some have
been moved to a different place, and have been given a new
name and a new look. For example, the Shadow and Highlight
Clipping Warning checkboxes (formerly in the toolbar) have
moved into the histogram. The RGB readings, formally dis-

p h ot o s h o p u s e r C S 3 b o n u s i s s u e

There are things we just know cant get any better: that perfect day fishing, your favorite team
winning the World Series, or Adobe Camera Raw 3. Well, hold on to your fly rod and championship pennant. Welcome if you will with huge applause and cheersAdobe Camera Raw 4!

039

ADOBE CAMERA RAW 4

p h ot o s h o p u s e r C S 3 b o n u s i s s u e

played horizontally above the histogram, are now displayed


vertically and below the histogram. The exposure and focal
length data now shows just to the right of the RGB display
instead of in the title bar.
The Auto checkboxes are now a hyperlink named Auto.
Click it to see what Camera Raw thinks is a good balance of
tonality. Click Default to return to the current Camera Raw
default settings. Auto is thankfully off by default. If you want it
to always be on, choose Apply Auto Tone Adjustments in the
Default Image Settings area of Camera Raw Preferences
(Command-K [PC: Ctrl-K]).
The image adjustment tabs are now icons. From left to
right theyre Basic (formerly Adjust), Tone Curve (formerly
Curve), Detail, HSL/Grayscale (new), Split Toning (new), Lens
Corrections (formerly Lens), Camera Calibration (formerly
Calibrate), and Presets (previously Save Settings in the Settings flyout menu).
The Workflow Options checkbox is gone. It has been
replaced with a hyperlink that lists the color space, bit depth,
pixel dimensions, and resolution of the current image. Clicking the link opens the Workflow Options dialog.

040

channels at 0 (black). Click either indicator to show the areas


of clipping in the image preview: red appears in the image
preview if any of the three channels (RGB) are at 255; blue
appears when all three channels are at 0.
Hold down the Option (PC: Alt) key while adjusting the
Exposure or Recovery sliders to see exactly which channels
or combination of channels are clipping. When theres no
clipping, the preview is black. Complementary colorscyan
(Green+Blue), magenta (Red+Blue), and yellow (Red+Green)
show multiple channels clipping. White indicates all three
channels are clipped. Move the Recovery slider to the right to
bring down the clipped areas. This has the effect of brightening the whole photograph while maintaining highlight detail.

Camera Raw can now open a RAW file as a smart object in


Photoshop. Hold down the Shift key and youll see the Open
Image button change to Open Object. In the Workflow Options
dialog, the Open in Photoshop as Smart Object checkbox also
changes the Open Image button to Open Object. With this
option on, adding the Shift key now changes Open Object to
Open Image.
Hold down the Option (PC: Alt) key to change the Open
Image button to Open Copy. This opens the file without
updating its metadata.

You can also use the Option (PC: Alt) key when adjusting the Blacks slider. The preview is white when theres no
shadow clipping. Colors show which channels are clipping.
Black appears in the preview when all three channels are
clipped to 0.
The Fill Light slider adds light to the shadows, and is a powerful tool in high-contrast situations. It doesnt preview clipping
with the Option (PC: Alt) key pressed or necessarily counter
all of the effects of higher settings in the Blacks adjustment.
Vibrance affects the saturation so that clipping is minimized
as a color is close to reaching full saturation. It also changes
the saturation of less-saturated colors so they wont impact on
higher saturated ones. Vibrance is great for making skin tones
more vivid without driving them into cartoon-like colors.

Start with the basics


The Basic tab includes controls for adjusting the white balance, tonality, and color saturation. The Exposure, Brightness,
and Contrast sliders remain the same, but Shadows has been
renamed to Blacks, and three new sliders have also been
added: Recovery, Fill Light, and Vibrance.
In this RAW file of model Virginia Morse (NEXT Models and
Talent Los Angeles), the Exposure slider has been moved to the
right. When the pixels in the histogram reach the right edge,
the Highlight Clipping indicator changes color showing which
channel(s) are at 255. If its red, for instance, the Red channel is
at maximum brightness (255). In the histogram shown above,
its yellow, meaning that both the Red and Green channels are
maxed out. The Shadow Clipping indicator is cyan, indicating that an area in the shadows has both the Green and Blue

Black-and-white Camera Raw style


You can now do black-and-white conversions directly in ACR 4
with the Convert to Grayscale checkbox found in both the
Basic tab and the HSL/Grayscale tab. It not only converts the
preview to black-and-white, it uses the underlying color information to make a best guess at what will work.
The big story is the color values. Camera Raw analyzes
the image and makes optimum settings. Click the Default
link to return all the color values to zero. Click Auto to see
again what Camera Raw thinks. Modifications are easy. Each
slider in the HSL/Grayscale tab tweaks only the images color
(uncheck the Convert to Grayscale box to look at the colors).
I want Virginias lipstick to be a deeper tone. Its red, so Ill
move the Reds slider to the left until her lips form a nice
contrast with her face.

ADOBE CAMERA RAW 4

The Detail tab is the same as in ACR 3. As before,


the default Preferences setting is to apply sharpening to all images. My suggestion is to apply them
to the preview image only. Sharpening is best done
in Photoshop.

While were on the subject of black and white, theres


another tab that fits right in: Split Toning. This tab tones
the highlights separately from the shadows and controls
the balance between the two. Move the Balance slider to
the left to increase the influence of the shadow colors or
to the right to bias toward the highlight colors.
Tone Curve
and Detail
The Tone Curve
(formerly Curve)
is for fine-tuning adjustments
made in the Basic
tab. Whats new
is the Parametric
tab. This curve
is used to tweak
tones in defined
tonal ranges in
a photograph.
There are four
sliders in this
shadows
lights
darks
highlights
tab: Highlights,
Lights, Darks, and
Shadows. Lights
and Darks change
the middle values
while Highlights
affects the values
on the right of
the curve and Shadows affects the values on the left. The
sliders at the base of the Parametric Curve change the size
of the four regions. The Point Curve is the original curve
that debuted in ACR 3.

Working with non-RAW files


Camera Raw 4 can open and modify files such as JPEGs and
TIFFs nondestructively. Yep. Camera Raw 4 works with files
that are not RAW. First, the warnings, then the xhow to.
Files that are 8 bit arent RAW. Even though they can be
adjusted in Camera Raw, that doesnt mean they have the
depth of data required for all of the things that can be done
in this wonderful tool. Changing the white balance or big
moves in exposure and Fill Light will most likely damage the
file that opens in Photoshop to the point of posterization or
banding. The good news is that the original is never harmed,
merely the resulting copy.
To open JPEG and TIFF files in Camera Raw from Adobe
Bridge, use the keyboard shortcut Command-R (PC: Ctrl-R).
To open JPEG files in Camera Raw in Photoshop, check the
Prefer Adobe Camera Raw for JPEG Files option in the File
Handling Preferences. Camera Raw treats JPEG and TIFF files
a bit differently than it does RAW digital negatives. JPEGs
and TIFFs will not have an XMP sidecar file; the settings are
written directly into the files header. Once a non-RAW file
has been altered, the Adjusted in Camera Raw icon appears
in its thumbnail in Bridge, and these files will now open in
Camera Raw.
When Adobe Camera Raw was originally introduced for
Photoshop 7, Photoshop guru Jeff Schewe said, Photoshop
is a great plug-in for Camera Raw. It was true then and its
even truer today. Adobe Camera Raw rules!!! Enjoy N
Kevin Ames, a commercial digital photographer, is author of
Adobe Photoshop CS2: The Art of Photographing Women,
Digital SLR Photography with Adobe Photoshop CS2 All-inOne for Dummies, and the upcoming Digital Photographers
Notebook: Practical Tips for Professional Photoshop Users.
You can email him at Kevin@amesphoto.com.
ALL IMAGES BY KEVIN AMES

p h ot o s h o p u s e r C S 3 b o n u s i s s u e

Hue, Saturation, and Luminance


When the Convert to Grayscale option is unchecked
there are three separate tabs within the HSL/Grayscale tab: Hue, Saturation, and Luminance. Each
slider in the Hue tab controls the hue for its color.
The color bar under the slider shows the range of
color it can select. The sliders in the Saturation tab
offer values from 100 to +100. A slider set at 100
makes its color grayscale (this is a great way to
preview which slider controls exactly which color
in the image). The Luminance tabs sliders control
the lightness and darkness for their respective
color. This is perfect for controlling tonality in a
very selective way inside a RAW file. Tip: Any slider
in ACR 4 can be returned to its default setting by
double-clicking it.

041

3D File Formats
Import native 3D file formats with Photoshop CS3
NBY CO R E Y B A R K E R

3D: Into Another Dimension


Previously, you could create 2D texture maps in Photoshop that youd import into a 3D program
and map to a model. Now you can import native 3D files, such as 3ds Max or Alias Wavefront,
into Photoshop CS3 and manipulate them in 3D by changing lighting and remapping textures.

his doesnt mean that you can build 3D objects in


Photoshop; you still have to create these in a 3D
program. But having a base 3D object and then
bringing it into Photoshop CS3 will be a tremendous time
saver when creating texture maps and compositing 3D
images. So lets jump right in and see what we can do in 3D.

p h ot o s h o p u s e r C S 3 b o n u s i s s u e

STEP ONE: Go to the File Menu and select Open. This will bring
up the Open dialog where you can seek out the file you want
to open. (Note: Photoshop will open files created in Adobe
Acrobat 3D Version 8 (U3D), 3D Studio Max (3DS), Alias (IBJ),
Maya (KMZ), and Google Earth.)
Select the desired file and click OK. A dialog appears that
prompts you to enter the Image Size. Enter the desired values
and Click OK.

042

STEP TWO: Now your 3D object opens as a Photoshop (PSD)


file but if you look at the Layers palette (Window>Layers), youll
notice that the layer (Layer 1) seems a little different. It has a
small cube icon in the Layer 1 thumbnail, which indicates that
this is a 3D layer. Just beneath theres a list of the textures that
have been applied to this object. To edit this object in 3D, just
double-click on the 3D layer icon to bring up the 3D editing
tools in the Options Bar.

STEP THREE: In the Options Bar, select the Rotate the 3D Object
tool (R). Click inside the document window, drag the mouse
around, and youll see the object move around in three dimensions. Click the Commit icon to reposition the angle of the object.

STEP FOUR: Next we want to


change the objects texture. In
the Layers palette, youll see
Textures under Layer 1 and
beneath that, the breakdown
of the textures that have been
applied. Just double-click on
the Coke texture and it will
open up a new file. To apply a

3D FILE FORMATS
texture, simply treat it as you would any other Photoshop file;
for example, drag-and-drop images or create new art in the
same window. In this example, we dragged in some art that
I had already created. Once youre finished, choose File>Save
and the 3D Object will update.

Note: If the object didnt have a texture applied in its


original 3D program, then you wont be able to apply a new
texture, as Photoshop needs to reference an existing texture
map to overwrite a new one.

The cool part is that you can still manipulate the 3D Object
with the 3D tools and the layer style will update based on the
new position or angle. So there you have it. You can begin to
see what possibilities this new feature can offer.

STEP SIX: At this


point, you may want
to adjust the lighting
so go to the Lighting and Appearance
Settings icon in the
Options Bar. (If your
3D tools have disappeared, just doubleclick on the 3D icon.)
Now click on the Light
Settings menu and
youll see a long list of different lighting scenarios from which
to choose. Experiment a little to see which lighting best suits
your needs. For our example, well choose Hard Lights.
STEP SEVEN: One more thing we can do to enhance the lighting
a little is to add a layer stylethats right, you can actually apply
a regular layer style to a 3D layer. For this image, we added an
inner shadow to help make the lighting a little more dramatic.
Click on Layer 1 to make it active, then click on the Add a Layer
Style icon at the bottom of the Layers palette and choose Inner
Shadow. In the dialog, adjust the settings to suit and click OK .

One more option


Theres one more aspect of 3D that we havent mentioned
yet: The last icon in the Options Bar, Cross Section Settings,
is where you can apply a cross section of your 3D object. For
example, if you have a 3D illustration of a jet engine and you
want to reveal the inside of the machinejust as you would
see in a cutaway illustrationyoud use this feature because
it allows you to apply the cross section of different axes
depending on the object. You can even change the color of
the edge outline to define the cross section even more.
Well, this is certainly a step in the right direction as far as
expanding the capabilities of Photoshop with regard to 3D
art. We can only hope that someday soon well be able to
generate and manipulate complete 3D objects entirely within
Photoshop, but until that day, lets marvel that good things
are here and greater things are coming. N
ALL IMAGES BY COREY BARKER

p h ot o s h o p u s e r C S 3 b o n u s i s s u e

STEP FIVE: Once the


texture is applied,
you may find that the
art is wrapped in a
way that you cant see
it. Just double-click
on the 3D layer icon
in the Layers palette
to bring up the 3D
tools in the Options
Bar again. Select the
Rotate the 3D Object
tool and move the object around to an angle that best displays
the artwork.

043

New Analysis Tools


Using Select Data Points, Ruler, Count, and Scale Marker tools to calibrate your image
NBY E R IC WEXLER

Theres a Brand-New Analysis Menu in CS3


In Photoshop CS3 Extended youll notice a brand-new menu called Analysis that provides tools
to help you get empirical data from your images. With this new capability, Adobe is expanding
Photoshop from the image-processing arena into the image-analysis realm.

ince the 1990s, medical professionals and scientifi c


researchers have used Photoshop in their workflow
but had to move images to other software to get measurement data. Now, Adobe supplies the Analysis tools in a
workflow order for those in technical fields. Lets take a look
at each step in the process.

p h ot o s h o p u s e r C S 3 b o n u s i s s u e

Calibrationtwo methods
The ability to calibrate an image to a standardwhether a
rational or arbitrary unitis most important. To create a calibrated state, Photoshop must know how many pixels make up
a unit. From the Analysis menu, select Set Measurement Scale
and choose Custom to open the dialog. The Presets dropdown menu gives access to any previously saved calibrations.
Three input fields (Pixel Length, Logical Length, and Logical
Units) allow for easy calibration.

044

The first way to calibrate is to scan a full-size image at 300 dpi


(1x magnification). Because you know that the resolution is 300
pixels per inch (ppi), you can type 300 for Pixel Length, then 1
for Logical Length, and inch for Logical Units. Now you have a
calibrated standard.

To save this, click Save Preset and name it 300dpi. This


preset calibration will now be available when you click on the
Analysis menu (and in the Set Measurement Scale dialog).

The other way to calibrate is directly from the imageif


youve planned ahead and placed a ruler or some pre-measured object in the image when it was captured. Open this
image and go to the Set Measurement Scale dialog. (Youll
notice that Photoshop automatically activated the new Ruler
tool.) Place the crosshair at the starting point of the scale
mark in your image. To make it easier to draw a straight line
and constrain it in 45 increments, hold down the Shift key
while you click-and-drag to the end of your unit of measure.
When you release the mouse button, the number of pixels
in the measurement will appear in the Pixel Length field.
Logical Length will fill with the known length (number
of pixels per logical length is shown at the bottom of the
dialog). For example, if the ruler in your image measured
4", type 4 for Logical Length.

NEW ANALYSIS TOOLS

Selecting data to acquire


The next thing to consider is what information we want to
collect from our image. Select Analysis>Select Data Points
to open the dialog. Photoshop has organized the Data Points
into four families: Common, Selections, Ruler Tool, and
Count Tool. Most labels are self-explanatory but heres a
general definition: Common Data Points are shared by any
information collected from the same image; Selections
Data Points are associated with the specific area of interest
being measured; The Ruler tool will divulge Count, Length,
and Angle; and the Count tool totals the points recorded.

Select the data points you want by clicking the checkbox


next to the label or select all and deselect those you dont
want. Click on the Save Preset to save your selections so theyll
be at your fingertips whenever you need them.
Once youve set your calibration and selected your data
points, you can begin your analysis. By using the selection
ability in Photoshop, coupled with the new Refine Edge tool
(Select>Refine Edge), you can select areas of interest and
record measurements using one of three ways: Analysis>
Record Measurements; Window>Measurement Log (keyboard shortcut Shift-Command-M [PC: Shift-Ctrl-M]); or if the

Measurement Log palette is visible, the Record Measurements button at the top-left corner of the window.
By recording the measurements on your image, Photoshop will fill in the spreadsheet with the data points you
selected earlier. (Note: the datas recorded whether the
Measurement Log palette is open or not.)
Ruler and Count tools
Before we pursue this programs ability to record data
collected from an image, lets
explore two new tools in the
Analysis menuRuler and
Count. Theyre also in the Photoshop CS3 Toolbox
under the Eyedropper.
The Ruler Tool is a quick and easy way to determine the length in any image. (Note: For accurate
measurement, the image perspective must be
undistorted and perpendicular to the film plane.) The Ruler
is a basic, single-use tool that relays data to you in the
Options Bar, registering only one measurement at a time.
In the Options Bar, the two most useful data points are
Length (L) and Angle (A).
The Count Tool records the clicks as you identify and count
objects in your image. Each item is labeled with a numbered
point in the order it was clicked. You can choose the Label
Color in the Options Bar to optimize visibility.
Measurement data repository
Now lets examine the way Photoshop records and displays
the data with the Measurement Log palette. (By default, the
Measurement Log shares a display with the new Animation
palette. If you want, grab the Animation tab, separate it,
and then close the Animation palette to reduce distraction.)
The Adobe engineers have given the new Measurement Log
palette a lot of built-in information. If you hover your cursor
over a heading for a second, a sentence-long description
pops up, sometimes helpful; sometimes not, for example,
CircularityThe circularity of the feature measured. Actually, the way that circularity works is that it displays a number
from 0 to 1, with 1 being a perfect circle and 0 a perfectly
straight line.
You can resize each column: Just click-and-drag the
dividing line between headings and adjust it until all the data
is revealed. The data collected for different measurement
attempts is displayed in rows. Select neighboring rows by

p h ot o s h o p u s e r C S 3 b o n u s i s s u e

For Logical Units, Photoshop gives you free reign. You can
call the units any word or abbreviation you like: microns, millimeters, or even parsecs. The usefulness is bounded only by
your imagination. Click OK to close the dialog.

045

NEW ANALYSIS TOOLS


holding down the Shift key and noncontiguous rows by
holding down the Command (PC: Ctrl) key. You can do this
for columns also.
At the top right of the Measurement Log palette are
four icons that perform the following tasks (from left to
right, respectively): Select All Measurements (angled ruler);
Deselect All Measurements (ruler with strike-throughuse
with caution); Export Selected Measurements (ruler with
arrowthe most useful); and Delete Selected Measurements (Trashcan).

When you click the Export button, a Save dialog appears


and the data is exported as a plain text document (TXT). This
file is then importable into Excel or other spreadsheet and
data-analysis programs.

p h ot o s h o p u s e r C S 3 b o n u s i s s u e

Automatically place scale bars


The last new feature is Place Scale Marker. Its placed appropriately at the bottom of the Analysis drop-down menu because
youll most likely use it at the end of your workflow. Activating the scale starts a prewritten action that places a locked
marker graphic onto the image. It also automatically places
the Length of the marker graphic (based on the choice you
made earlier in the Measurement Scale dialog). If you want
to remove the scale graph and text, simply Undo by pressing
Command-Z (PC: Ctrl-Z).

046

The Measurement Scale Marker dialog allows minimal


control of the scale graphic: You can set the Length of the
bar; check Display to turn the text on or off (unchecked); click
Bottom or Top for Text Position (above or below the bar); and
click Black or White for Color.
If you want more choices in how the graphic is displayed,
double-click on the layer thumbnail next to Marker Graphic in
the Layers palette and the Layer Style dialog opens. From here,
you have a multitude of options to convert the bar to something more than just a black or white line. Similarly, just doubleclick on the Type layer (not the thumbnail) and the Layer Style
dialog opens for more text options. To change the text, doubleclick on the Type thumbnail and the Type tool activates.

Lastly, because the scale bar is on the same layer as the text,
it can be repositioned easily using the Move tool (V).

Good luck with your new powers


I hope this article has been a welcome introduction to the
new Analysis tools that Adobe has provided in Photoshop
CS3 Extended. By having access to these simple analysis tools,
you can accomplish your tasks in a simpler workflow, using
only one program. In-depth image analysis will still require
a dedicated program or plug-in, such as Reindeer Graphics
Fovea Pro, but Adobes first foray into the field has produced a
strong foundation upon which to build more complex analysis. Now, open an image and measureplay with ittheres
always the Undo command. Q

Eric J. Wexler is a Research Scientist in the pharmaceutical industry. His expertise includes histology, microscopy, and imaging.
Currently, he is a member of Adobes Biomedical Image Advisory Group.