photoshop user - april & may 2011-tv

8/7/2019 Photoshop User - April & May 2011-TV

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TABLE OF CONTENTS} } APRIL IMAY 2011

F E A T U R E ROCKIN'48 PHO IOGRAPHYT h is i s su e o u r f e a t u re i s ja m -p a c ke d w it h in fo rm a tio n r e g a rd in gc o n c e rt p h o to g r a p h y . I t 's im p o r t a n t t o h a v e t h e r ig h t c a m e r a a n dle n s c o m b in a t io n , t o k n o w y o u r c a m e r a w e l l , a n d t o u s e t h e c o r r e c tc a m e r a s e tt i n g s . H e r e y o u ' l l l e a r n h ow t o s h ow c a se m u s ic ia n s a n dt h e i r i n s t r u m e n ts in t h e b e s t l i g h t p o s s ib le . T u r n t o p a g e 4 8 t o s t a rty o u r jo u r n e y in to b e c om i n g a r o c k in ' c o n c e rt p h o to g r a p h e r .A la n H e s s

DEPARTMENTS T T REVIEWSF r o m t h e E d it o r 6 1 1 8 C a n o n E O S 6 0 0

A b o u t P h o t o s h o p U s e r M a g a z i n e 1 0 1 1 9 N E C M u l t iS y n c P A 3 0 1 W1 6 G a d g e t T r a kC o n t r i b u t in g W r it e rs 1 2 0 N i k o n C O O L P IX P 7 0 0 0

N A P P M e m b e r C o m m u n it y 1 8 1 2 1 G r a s lo n D o m e F la s h D i f f u s e r 4 1 0 0 02 4 N IK K O R A F - S 2 4 - 1 2 0 m m f / 4 G E D V R I IN A P P M e m b e r G a lle ry 1 2 2 C o t to n C a r r y - L it e

F ro m t h e H e lp D e sk 9 4 M - R O C K 6 7 3 S m o k y M o u n ta in sP h o to s h o p T ip s 1 : 1 ) 1 2 4 N i k o n 0 3 1 0 01 2 5 G u a rd ia n M A X im u s m i n iP h o t o s h o p Q & A 1 4 2 1 2 6 f o t o n O !

K i n g s t o n C o m p a c tF la s h U l t im a t e 6 0 0 x1 2 7 P h o t o s h o p B o o k R e v ie w sCOLUMNS TDESIGN MAKEOVER :I) 5 8 DEKESPACE

M i n o ri t y R e p o r t B r a n d in g T y p e o n a T e x t u reDOWN & DIRTY TRICKS 3 4 m CLASSIC EFFECTSA g e d I l l u s tr a t e d P h o to E f fe c t M o s a ic L a y e r M a s k E f f e c t

N a m i a S n o w P o s t e r 4 0 6 24 4 GRAPHIC SECRETSL e s s I s M o r e P h o t o E f f e c t H o w t o S p ic e U p B a c k g r o u n d sFROM BERT'S STUDIO 5 6 6 4 PHOTOSHOP MASTERYA L in k in t h e C h a in R e f in in g t h e R e s u l t s o f t h e R e f in e E d g e C o m m a n d


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) ) WWW.PHOTOSHOPUSER.COM

COLUMNS , . .BEGINNERS' WORKSHOP m 9 2 PHOTOSHOP&THEWEB

M a k in g a C u st o m P ic tu re P a ck ag e L in k L ig h tr o om , FIc kr , a n d Y o u r W e b s i t e f o r M a x E x p o s u r eTHE COPYRIGHT ZONE 7 4 9 6 ILLUSTRATOR TUTORIALD e r iv a ti v e s a n d W h a t I f- it i s P a in t w i t h Im a g e sTHE SMALL BUSINESS 7 8 1 0 0 INDESIGN TUTORIALAND FREELANCE COACH C r e a tin g G a l le r y P r in t T e m p l a te sB u s in e ss p e o p le S h o u ld B e S e e n a n d H e a r d , . . LIGHTROOMCREATIVE POINT OFVIEW 8 2 COLUMNSr a d u a t e d F i l t e r : T h e O b e r B r us h !

DIGITALPHOTOGRAPHER'S NOTEBOOK 8 4 1 ma c ia l S y m m e tr y FEATURED PHOTOGRAPHERiii S h a w n W e l lin gTHE FINE ART OF PRINTING 1 1 2 UNDER THE HOODC h o o s in g P h o to s h o p C o lo r M a n a ge m e n t P o lic ie s C a m e r a P r o f i l e s : O n e o f th e B e s t F e a tu re s in L ig h tr o o m

TABLET TALK 8 8 1 1 4 UNDER THE LOUPEM a k in g th e L e a p f r o m M o u s e to T a b le t S a v in g Y o u r P r in t L a y o u ts A s a J P E G Im a geBEYOND PHOTOSHOP m 1 1 6 LlGHTROOM TIPS &TRICKS

A n im a tin g V e cto r M a s k s o n V id e o

L lGHTROOM DEFEATINGFEATURE DIS IOR liON104 T h e L e n s C o r r e c t io n s p a n e l h a s a p r o f i le fo r e v e r y o n e , n om a t t e r w h a t t y p e o f c a m e r a y o u u s e . Y ou c a n u s e t h e a u t o -

m a t e d le n s c o r r e c t io n o p tio n , c r e a t e y o u r o w n p ro f i le w it h t h eL e n s P ro fi l e C re a to r, d ow n lo ad a p ro fi le c re a te d b y a no th e ru se r w ith th e L e n s P ro f i l e D o w n lo a d e r , o r i f a l l e l s e fa i l s , y o uc a n u s e th e L ig h t r o o m m a n u a l p r e s e t s .V i c to r i a B a m p t o n

BUT WAIT- THERE'S MORE ,..KEY CONCEPTS

T h e se ic on s a t t he b e g in n i n g o f c o lu m n s in d ic at e th e r e 's a s ho rt v id eo o n a t o o lo r f u n ct i o n u s e d in th a t t u to ri a l a t t h e n e w K e y C o n ce p t s N A P P r r e rte r w e b pa ge

a t w w w . p h o to s h o p u s e r .c o m / k e y c o n c e p ts .S ( @ )Actions Lasso too l Layer m asks@ @ Pe n t oo l Sm a rt o b je ct s T y pe t o ol

CD DOWNLOADABLE CONTENTW h e n ev e r y o u s e e t h is s y m b o l a t t h e e nd o f a n a r t ic le , i tm e a ns th e re a re e it h e r d o w n lo a d a bl e p ra c t i c e f i l e s o r a d di t io n alc o n te n t fo r N AP P m em b e r s a t w w w . p h o t o s h o p u s e r . c o m /m e m b e r s / m a g a z i n e .

DIGIMARC DISCOVERD o w n l o a d th e D ig im a r c D is co v e r a p p d ir e c t l y t o y ou r iP h on e o rA n d r o id -b a se d s m a r t p h on e s, a n d t h e n l o o k fo r th is s ym b o l i n s e le c t e da r t ic le s a n d a d s f o r a d d it i o n a l o n lin e c o nt e n t, s p ec ia l o ff e rs , o r to p la yv id e o s r ig h t o n y ou r p h o ne . S e e p ag e 1 4 f o r m o re i n fo .
http://www.photoshopuser.com/keyconcepts.http://www.photoshopuser.com/http://www.photoshopuser.com/http://www.photoshopuser.com/keyconcepts.


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A FEW WORDS FROM) ) SCOTT KELBY

TFROM THE EDITOROne Rockin ' ShowPhotoshop World inspires NAPPmembers and P ho to sh op U se r

Bythe time you read this, we'll be in the middle of the EastCoast edition of NAPP'sannual convention, Photo-shop World Conference & Expo. I hope you're there to be a part of this amazing event, because spending threedaystotally immersed in Photoshop fun can do wonders for you and your career.

I'm the Conference Technical Chair for the event, and part of my job is to make sure that each year we bringnew techniques, new trainers, and new opportunities for learning to the conference. A couple of years ago weadded something real ly unique asa preconference workshop-a live concert shoot (complete with a l ive bandon a concert stage). To pull off something like that, we had to get some of the best concert photographers andinstructors we knew, but it all paid off. The workshop was a huge hit with our attendees.What's even cooler is that you guys get to benefit from its successas our cover story this issue is from one of

the workshop instructors, pro concert photographer Alan Hess.Of course, he's going to talk about his shoot ing techniques, but he's notstopping there-he's sharing his Photoshop techniques, as he shows how he processes his concert shots, aswell. It all starts on page 48.

Also in this issue, we have a feature in our Lightroom section from Victoria Bampton on not only how to use the built-in lens profilesin Lightroom 3, but also how to build and share your own custom profiles. It starts on page 104.

I know you guys are always up for something new (we are, too), and last issue we started using some very cool new Digimarc tech-nology, where iPhone and Android users can interact with the magazine (wherever you see a Digimarc icon) to get accessto additionalmaterial. If you have an iPhone or Android-based phone, give it a try (see page 14 for more details). If you don't have one, you can stillaccessthe additional content at www.photoshopuser.com/category/digitalextra.

Next issue, we'll have our wrap-up from Photoshop World, but I hope instead of just reading about the show, you had the chance toexperience it in person and that I got to meet you at the conference If you didn't make it this time, I hope I'll see you in Vegas this fall.

I do have some sad news to report. Dave Huss, a man whose name many of you will recognize from his contributions to PhotoshopUser magazine over the years, passed away in February. Dave was very well known in our industry, an incredibly nice guy (with a greatsense of humor), and a talented writer. He will be missed.

Al l my best,/rt:( _ _ J , t t KelbyEditor & Publisher

c rw'":>~oI'"of-oIn06
http://www.photoshopuser.com/category/digitalextra.http://www.photoshopuser.com/category/digitalextra.


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APRll/MAY 2011Volume 14 Number 3 Printed inUSATheofficial publication ofThe National Association of Photoshop Professionals

EDITORIAL:Scott Kelby, Editor- in-ChiefChris Main, M an ag in g E dito rTrisha Van Koughnett, As s o ci at e Ed it orKim Gabriel, Tra f fi c D i re c t o rFelix Nelson, Crea ti ve D i re c t o rDave Damstra, P r od uc ti on M a na g erTaffy Clifford, Se n io r A s s o ci a te De s ig n e rDave Karma n,P r od uc tio n D e si qn e rCon tr ib u ti ng W r it e rsKevin Ames. Victoria Bampton Corey Barker- Peter BauerLarry Becker Bruce Bicknell 0 John Paul Caponigro 0 "RC"Concepcion' Dave Cross 0 Daniel East 0 Katrln Eismann 0 LaurieExcello Jeff Gamet EdGreenberg. Alan Hess - Matt KloskowskiDeke McClelland 0 Bert Monroy 0 Scott Onstott 0 Chris OrwigJack Reznlckl 0 Colin Smith 0 Lesa Snider 0 Rob Sylvan. ShawnWelling. Terry White 0 Jake Widman. Ben Wil lmoreM ark etin g T e amMary Laurinaitis, Managero fMar#


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ABOUT PHOTOSHOP USER) )

ABOUT PHO IOSHOPUSERMAG,AZINE

ABOUTNAPP T

P h o to s h o p U s e r m a g a z in e is t h e o f f i c ia l p u b li c a ti o n o f t h e N a t i o n a lA s s o c ia t i o n o f P h o to s h o p P r o f e s s io n a ls ( N A P P ) . I t i s f o r m e m b e rs ,b y m e m b e r s , a n d i s n o t a v a ila b le t o t h e p u b l i c b y s u b s c r ip t i o n .ft s a N A P P m e m b e r , y o u a u to m a t ic a l l y r e c e iv e P h o to s h o p U s e rd e li v e r e d r i g h t t o y o u r d o o r ( o r d ig it a ll y ) t e n t im e s a y e a r . E a c h is s u ef e a tu re s in - d e p th P h o to s h o p t u to r ia ls w r it t e n b y t h e m o s t t a le n te dd e s i g n e rs , p h o to g ra p h e rs , a n d le a d in g a u th o r s in t h e in d u s t r y .

THE NATIONAL ASSOCIATION OFPHOTOSHOP PROFESSIONALSis a ~ ic tino o s o c i < f u t < J l d till w O O d ' s l e a d i l g r e s o u r c e f o r

~ P lk t o sh o p e l r a i l i n g , n e w s , a n d f r l I 3 i o n . F a J 1 d e d i n 1 90 0 .N A P P h a s 0 0 c 0 m e till I a r g e s I Q I < l l h i C s a n d dgtll i m a g i n g a s s c x : m o o

in till w o r l d v . i 1 h m o r e tim 7 0 ,0 0 0 r r em b e r s w o r I c t M d e . f o W > P is OpM to< r r J i n d iv iW i u s i n g P lk to s h o p i n a c a s u a l o r p r o I es s i o na l e n v i r o rm m .

T l 'e re 's n o f as te r , e as ie r , a n d m o r e a f f o rd < i l l e w a y t o g a r e a l l y g o o d a P h o t o s h o p .Y o u cal j o in f o r o n l y ~ U .S ., 1 1 2 9 C a n a d a . a n d ' 9 9 l n 1 1 m i i o n a l ( c f i g i t a J d e l i v e I y ) .

N A P P a ls o o I f e I s s p e c i a l l W : a t io n a i r r e m b e r s h i p s .G o t o W W N . J td o s h o !l J se r. c o m t o g a m o r e i n f o .

MEMBER 'YBENEFITSPHOTOSHOP USER MAGAZINE

T e n i ss u es e X till b e s t Ptotoshop l l i o r i a l - lm l r l ~ a z i n e i l th e i n d . J s U y .MEMBERS-ONLY WEBSITE

O u r e Jd e rI si ve w e I l ; ~ e f w e s t i m e - ax ! m o n e y - s a v i l g c o n t o o t .TUTORIALS &EDUCATION

l l loumds 0 1 P h o t o s h o p M o r ta ls , b o nu s c l a s s e s , a n d ~ick t ip v O m

MEMBER DISCOUNTSS av e ~ f ro m 2 -4 t im e s y o u r m e m b a ' sh ip c o s ! t1 { u s i n g Olr m a n yi n d u s t r y , r e l a e d d i S W l l1 l s .

TECH SUPPORTF a< ; t , f r i e n d l y Pho t~ L ig h tr o o m . a n d l h i o g e a r h e l p , e q u i J l r e l l lO O v i c e , e m m o r e f r o m c e r t i f i e d e I C p e r t s .

MEMBER COMMUNITYN A P P m e 1 1 b e r s r a ng e f r o m b e g im e r s to p r o s a n d l o v e to l e n d e c d lo th e r a hem. T ogaher, \W t ' a v e b u i l th e f r i e O O l i e s t . m o s t k n o v . 1 e d g e : t J 1 eP l k t o s O O p ax ! phot~ f o ru n o n till W o o .NEWS & REVIEWSU n b i a se d o o v e ra ge o n th e l a te s t f l ( J. I ip m e n t , p k J g - i n s , a m p r o g r a m sin t he r m k a p la c e.

MONTHLY E-NEWSLETTERl ' I o d u c e d e x c l u s i v e l y fo r m e m b e r s to k e e p y o u i n f o m n e d e X e v e t y t h i l g n e wi n t he i n d u s b y < r i d a N A P P h e a c i J J a r t e r s .REGISTRATIONDISCOUNTTOPHOTOSHOP WORLDCONFERENCE & EXPOT I ' e SffiIi ;mmJ N A P P c o n ve n ti on a n d t I l l l 1 J g e s t P h d o s h o p and!Biog-r a p h y l e am i lg e x p e l i en c e o n till p I < r l e l tr s C I1 c r n a z i n g P h o t o s h o p e v e n t .

FIND NAPP MEMBERSHIP DETAILS AT W W N . lh io s l ' i o !x Js e r . o o m o rc al8 0 0- ~ 1 3 M < n la y -f r i d < r f , 8 : 3 0a m . t o 7 : 0 0p .m . E S T . 5CAH THI ISPAQE FOR MORE INFORMATION ABOUT NAPP


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Joel Grimes, advertising photographer and lighting expert, will show you how hetransforms subjects and backgrounds to create maximum drama and visual tension.Learn how Joel configures his Wacom Intuo~4 professional pen tablet and Adobe-Photoshop= CS5 to quickly and precisely realize his creative vision. Then downloadhis Intuos4 settings and try them for yourself at www.wacom.com/JoeIGrimes
http://www.wacom.com/JoeIGrimeshttp://www.wacom.com/JoeIGrimes


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25% OF Fl(.Your F irs t Bay R O ES O rder!"For instructions on how to redeem this offer. fil l out the New Customer Account Request form at wwwbayphoto.com


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Quality. Service. Innovation.WE'RE HERE FOR YOU ! ba~p-ho to .c=


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With Digimarc Diseouer"= enhanced content leaps off the page and into yourSmartphone! Pho to shop: User and D ig im a rc D is co ve r are about to take your trainingto the next 1 vel by adding videos, links and more via your Smartphone. Here' what to do:

Look for this symbol in our articles and select ads and get connected to extended orrelated online content, special offers, or playa video right on your phone.

A F E W H E L P F U L H I N T S T O H E L P Y O U G E T s r A R r E D W h en you see an icon indicating in ter active content, po in t th e ph one at th e

center of th e im ag e, not at the icon. D ifferent p hones read at differen t dis tances . M o st p hones recog nize th e in ter -

active content at 4-6 " aw ay. O nce you find your p hone's "sw eet sp ot" it's easyto rep eat over and over .

Th e app works bes t in a w ell-lit area w ith th e m ag azine lying flat. Ifyou'reh aving trouble reading th is p ag e, your p hone w ill too .

P ll ot os ho p i s a r~red I rac temaJ i< 0 1 Adobe Sys tems f l "lCO lpO reteo .

SCAN FlAG FOR EXTENOEOQR RELATEO ONUN CONTENT ANO SPECI . .. . OFFE~S


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D O W N L O A DDownload the free Digimarc Discover app from the iTunes App Store or Android Market.

0....................L A U N C HLaunch your D ig im arc D isco ve r a pp and hold thephone parallel to the page about 6-8 inches away totart. Th app works be t in a well-lit area with the

magazine lying on a flat surface.

~ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .F O C U SSlowlymove your phone closer to the page, allowingyour camera to focus, until you hear a sound thattells you you're connected.

o .v O I L A !Voila! Get ready to turn the printed page into a Webbrowser! Your app willdeliver a rich new media experienceright to your Smartphone. Try it on this ad and alsoexperience it on the Digimarc ad in thi isue!

Get ready to discoverPho to shop Use r in a whole newway!TRYIT HEREand lookfor new content in our next issue!

(9) SCAN PAGE F='OREXT! i:NOOQR RELATO ONI .INECONT&NT ANO SPECIA OFFERS


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PHOTOSHOP'S MOST WANTED) )

CONTRIBUTING TWRITERSKEVIN AMES

c re a te s e v o c a tiv e p h oto g ra p hs fo r c l ie n ts s uc h a s W e s t in H o te ls , A T & T , a n d C o ca -C o la . H is f o u r t h b oo k , p u b lis he d b y P ~ hp it P re ss , i s T h e D i g i t a l P h o t o g l c ( J h e r 's

N o te b o o k : A P ro 's G u i d e t o P h o to s ho p C S 3 , U g h t r o o m a n d B r id g e .

STEVE BACZEWSKI ~i s a f re e la n ce w r ite r , p r of es s io n a l p h o to g ra p h er , g ra p h ic d e s ig n e r, a n d c o ns u lt an t.

H e a ls o t ea c h es c la s se s in t r a di t io n a l a n d d ig ita l f in e a r ts p h o to g ra p h y. H i so o m pa n y, S o re T o ot h P ro d uc ~ on s , is b a s e d i n A l b a n y, C a i ff o m ia .

PETER BAUERi s a n a d o b e C e r ti f ie d E x p er t t m t d o es c om p u te r g ra p hic s c on s u lt in g f o r a s e le c t

g ro u p o f o o r p o ra te c l ie n ts . H i s la te s t b o o k is P h olo sh o p C S S f o r D u m m i es . H e w a sin d uc te d in to t h e P h o t o s h o p H a ll o f F a m e in 2 0 1 o .

.JOHN PAUL CAPONIGROi s a n in te m a tio n al ly r e s p e cte d f in e a r t is t, a m e m b e r o f t he P h o to s h o p H a ll o f F a m e ,

a nd a u th o r o f A d o r e P h o to sh o p M a s te r C la ss a n d t h e D V D s e r ie s R / E v o l u t i o n .

SEAN DUGGANi s t h e C C t - au t h o ro f R e a l W o rf d D i g i t al P h o t og ra rh ;a n d T h e C r e a tiv e D i g i t al

D a r k r o o m . H e te < d le s a t S a n F ra n c is co 's A c a d e m y o f A rt U n iv e rs it y a n d le a d sw o rk sh o ps o n d ig it a l p h oto g ra p hy , P h o t o s h o p, a n d U g h t r o o m .

is a n a u th o r, f re e la n c e w r ite r , p r es e n te r / tr a in e r, a n d o o n su lt an t w i lh m o r e t ha n 2 0y ea rs ' e x p er ie n ce in p h oto g ra p hy , p ro -a u dio , a n d m a rk e t in g D a n ie l is a ls o fo u nd e r

a n d p re s id e n t o f T h e A p p le G r ou p s T e am s up p or t n e tw o rk fo r u s e r g r o up s .

KATRIN EISMANNi s th e a u th o r o f P h o t o s h o p R e s t o r at io n & R e / o u d l i n g a n d P h o to s ho p M a s k in g &

C o m p o s i t i n g a n d c o - au th o r o f T h e C r e a t iv e D i g it a l D a r k r o om . K a tr in is C h a ir o f t heM P S in D ig ita l P h o to g ra p hy d e pa rtm e n t a t t he S c ho o l o f V is ua l A r t s in N Y C .

LAURIE EXCELLh as 2 8 y e a r s o f p h oto g ra p hy a id p h ot o g ra p hic e q u ip m e nt s a le s e x p e rie n ce .

H e r i m ag e s h a ve b e en s ho w ca s e d in g a lle rie s , A u d ub o n c a le n da rs ,C a m p in g U f e M a g a z in e , A m t ra k p u b li ca t io n s , a n d B T J o u rn a l

h a s a u th o re d m o re th a n 4 0 b o ok s o n d ig it a l p h oto e d it in g , in c l u d in g s ev e r al b o ok so n L ig h tr o o m . H e is a p o pu la r c on fe re n ce s pe a ke r a n d h a s t a ug h t w o rk sh o ps in

t h e U .S . a n d E u ro p e. H e h a s c a l le d A u s t i n , T e xa s , h o m e fo r th e p a st 3 0 y ea rs .

DEKE McCLELLANDi s a u th o r o f A d o b e P h o to sh o p C S S O n e - a n - O ne a n d th e th re e -p a rt v id e o s e r ie s

P h ato sh o p C S S O n e - an -O n e . T o r e ad D e ke 's b lo g a nd v ie w h is p o d ca s ts ,g o t o \ !I lw l . d e k e .c o m / d e k e p o d .

BERT MONROYi s c on s id e re d o n e o f t h e p io n ee rs o f d i g i ta l a r t . H is w o rk h a s b e en s ee n in c ou n tle s sm a g az in e s a n d b o ok s . H e h a s s e rv ed o n th e fa c u lt y o f m a n y w e lt - k no w n i ns ~ tu tio n s,w r i t t e n d oz en s o f b o o ks , a nd a pp e a re d o n h un d r e ds o f T V s ho w s a ro un d th e w o rld .

SCOTT ONSTOTT- a u th o r o f E n h a n c in g A rc h i t e c t u ra l D r a w in g s a n d M o d e ls w i lh P h o to sh a p ,

h as w ri t t e n a nd e d i te d d oz e ns o f b o ok s a nd v id eo s o n P ho to sh op , S ke tc h U p ,3 d s M a x , a n d A u to C A D . C h e ck o u t h is w e b si t e a t l W IW . sc o t lo n sto tt . c om .

CHRIS ORWIGa p h oto g ra p he r, a n d b o ok a n d v id e o a u th o r, is o n th e p h ot o g ra p hy fa c u lt y a t t h eB r oo k s In s ti t ut e in S a n ta B a rO O r a .H is p u b lic a tio n s in c lu d e v id e o t ra in in g t iU e s o nP h ot o sh op C S S a n d L ig h l r o om 3 .

COLIN SMITHi s a n a w a rd -w i nn in g d e s ig n e r, I ~ lu r er , a n d V lT ite rw h o h a s a u th o re d o r c o -a u th o re d1 2 b o ok s o n P h o to s h o p a n d h a s a l so c re a te d a s e r ie s o f P h o to s h o p t r ai n i n g v id e os .C o lin is a ls o th e f o u nd e r o f t h e o n lin e r e s o u rc e P h o to s h o pC A F E .c om .

LESASNIDERi s th e c h ie f e v a ng e lis t fo r iS to c kp h o to .o o m , th e a u th o r o f P h o to sh o p C S S : T h e M i s s -in g M a n u a l, a n d s ev e ra l v id e o t r ain in g t iU e s o n K e lb y T ra in in g ,o o m . S h e 's a ls o am e m b e r o f t h e P h o to s ho p W o r ld D re a m T e am a n d fo u nd e r o f G r ap h ic R ep o rte r. c om .

ROB SYLVANi s t h e a ut h or o f T a k in g S to c k a n d P h a to s ho p U g h tr a a m 2 f o r D u m m i e s , aH e lp D e sk S p ec ia lis t fo r t h e N A PP , a nd a n in s t r u c to r f o r th e P e rfe c t P ic tu reS c h o ol o f P h o to g ra p h y.

TERRY WHITEi s th e W o r ld w id e C r ea tiv e S u ite D e s ig n E v a n ge lis t f or A d o b e S y s te m s , In c ., a u th o ro f S e c r e t s o f A d o b e B r i d g e , a n d c o - au th o r o f I n D e s ig n C S /C S 2 K il le r T t~ a n d IteiP h o n e B o o k 4 th E d it io n . C h e ck o u t h is te c h b lo g a t h t t p ) i 1 e r r ) w f l i t e . c O O l ..JAKEWIDMANi s a w r i t e r a n d e d ito r w h o l iv es in S a n F ra n cis co . H e 's b e en c ov e r in g th e in te rs ec tio no f c o m p ute rs a n d g ra p hic d e sig n fo r a b o u t 2 5 y ea rs n ow -s in e s b a c k V v fle n it w a sc a lle d " d es k to p p u b lis h in g " a n d P h o to s h op w a s ju s t a p ie c e o f s ca n n in g s o ftw a r e.BEN WILLMOREi s a P h ot o sh op H a ll 0 1 F am e r a nd a m o d em -d ay n om a d e xp lo rin g A m er ic a v iam o t or co a c h. C a tc h h is la te s t a d v en tu r e a t I W N I .w h e re is b e n. cO O l a n d f in d o u t a b o u ta ll h is b o o ks , s e m in a rs , D V D s , a t W M ' I. dig ita lm a s ie ry c om .

ED GREENBERG& .JACK REZNICKIh a ve a n e w b lo g a t I I' .W I .lh e c op y rig h lz o n e.o o m w h e re y o u c a n r ea d a b o ut th e irn e w b o ok , P h o to g ra p h e r's S U r v iv a l M a n u a ( p u bl is he d b y L a rk B o ok s .


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L E A R N BYV DE ORevolutionize the way you learn Photosnop: and Liqhtroom:

. _ .--~

_ ,Scan here to watchvideo trailer! Adobe P ress

Check out the trailer and free sample clips now! www.learnbyvideo.com
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INDUSTRYNEWSTRAININGANDINFORMATION) )

NAPPMEMBERCOMMUNITYBY NANCY MASSE AND CHRIS MAINW h e r e y o u 'l l f i n d c o m m o n H e lp D e s k q u e s t i o n s ; n o t a b le m e m b e r a c h ie v e m e n t s ;q u o te sf r o m F a c e b o o k , T w i t t e r , a n d t h e f o ru m s ; a n d in s p ir a t i o n a l w o r k f r o m y o u r f e ll o w m e m b e rs

NIKSOFTWARE RELEASESSILVEREFEX PRO 2D o you feel like b lack-and -white photography has b een overshad owed b y H D R lately? If so, you're prob ab ly notalone, b ut the good folks at N ik Software want you to know that they haven't forgotten ab out b lack-and -whitephotog raphy as they ju st u pd ated their popu lar S ilver E fex P ro softw are to version 2 . T his plu g-in for P hotoshop,L ightroom , and A pple A perture is d esigned to help you create amazing b lack-and -white images. Scott Kelb yinclud ed the first version of Silver E fex P ro in his "G onzo Holid ay G ear G uid e" b ack in 2008, so you know it's gotto b e good .

T he new version com es w ith a host of new featu res inclu ding the H istory B row ser, D ynam ic B rig htness, A m plifyB lacks and W hites, Soft C ontrast, and F ine Structure. A s with all of N ik's applications, Silver E fex uses U P ointtechnology that allows precise ed iting of d etail, contrast, and tonality without selections. Y ou can also use theU P oint technology to selectively ad d color elem ents b ack into an im age. A nd w ith the new N atural Im age B ord ersfeature, you can ad d organic im age elem ents to create unique and rand om b ord ers that will g ive a m od ern lookto c la ss ic d ark roo m-s ty le e dg es , fin is hin g y ou r im ag es in g ra nd e le ga nc e.

Silver E fex P ro 2 is availab le for $199.95, or you can upgrad e from the orig inal version for $99.95. F or morein fo rm atio n, v is it www.niksoftware.com/silverefexpro.

EPSON STYLUSPHOTOR3000ANNOUNCEDA t Im aging U SA in San A ntonio, T exas, E pson introd uced the StylusP hoto R3000. T his new 13" printer aimed at photographers and finea rtis ts in co rpo ra te s a dv an ce d te ch no lo gy fro m E ps on 's h ig h-e nd S ty lu sP ro-series of printers. T he R 30 00 u ses the E pson U ltraC hrom e K 3 w ithVivid M agenta ink set. A ccord ing to Epson, the Viv id M agenta andV ivid L ig ht M a genta inks prov id e m ore d ram atic b lu es and violets for anexpand ed color gam ut. T he inks for the R3000 com e in ind ivid ual high-capac ity cartrid ges (2 5.9 m l) that w ill ru n you arou nd $ 30 a cartrid ge.

U sing A ccuP hoto HD 2 image technology, the R3000 prom isesprecise placem ent of ink d roplets for grain-free im ages w ith sm oothtransitions and grad ations, and b etter shad ow and highlight d etail.T he M icroP iezo A M C print head d elivers eight channels of ink at a m axresolution of 5,670x1 ,440. W ith ad vanced med ia hand ling, the R300can print on fine art med ia up to 1.3 mm thick, roll paper up to 44"long, and CD s and D VD s. T o top it off, E pson also includ ed supportfo r w ir ele ss 8 02 .1 1 n p rin tin g.

T he E pson S tylus R 30 00 shou ld b e avail-ab le b y the time you read this foran M SRP of $849. V isit ww w.e ps on .c om lR 30 00 fo rmo re i nf orma ti on .

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SONY BRINGSTHE BIG SCREEN TO YOUR DSLRD o you find yourself shooting a lot of H D video on yo ur b ran d-n ew D S LR o nly to b e frustratedb y the size of the LCD on the b ack of your cam era? W ell, Sony has the solution for you: theC LM -V55, a 5 high-resolution VW G A (800x480) LC D panel that you can attach d irectly tothe hot shoe on your D SLR o r cam cord er. Just p lug it into theH DM I port on your camera and you can m onitor yourH D fo ota ge in g lo rio us s ty le .

F e at ur es in clu d e a c on tr ol w he elfo r q uic kly a d ju stin g a sp ec t r atio(1 6: 9 o r 4 :3 ), v olu me , b rig ht-n ess, con tra st, a nd co lo r. Ita ls o in clu de s a m on o sp ea ke ralo ng w ith a he ad ph one jack fo rlis te nin g to th e a ud io d urin g sh oo t-ing , a d etacha ble ho od for shie ld in gth e sc re en in b rig ht s un lig ht, a nd th e a bilityto sw ivel in just a bo ut an y d irectio n for y ou rsh oo tin g n ee ds. T he C LM - V55 sho uld b e avail-ab le b y the time you read th is for an M SRPo f $ 39 9.9 9. V is it www.sonystyle.com for m ore in fo .

FREEPHOTOsHOPEFFECTsFROMTHE PLUGIN srrrV ersio n 4 of H arry's F ilters is no w a vailab le fro m T he P lug in S ite . T his free plug-in fe atu res6 9 im age e ffe cts in 9 effect group s. A ll th e e ffe cts a re acce ssib le fro m a sing le d ialog , w hichis resizab le in the new version so you can m ake the preview as large as you want. T he suiteof e ffe cts in clud es colo r ad ju stm ents, a rtis tic e ffects, g rad ien ts an d p atte rns, w arping , a ndm any m ore. It also contains natural effects such as lightning, tornad o, and polar lights.

T he filter com es with m ore than 120 presets and users can create and save th eir o wnpresets. A P lay b utton creates an anim ation using rand om settings-a great way to explorethe d ifferent effects. If you want to create rand om effects w ithout the anim ation, just clickth e Ju mp b utto n.

H arr y's F ilte rs 4 in clu de s a 6 4-b it v ers io n th at w orks in P h oto sh op C S4 a nd C S5 . C urre ntly ,ve rsion 4 o nly w orks w ith W ind ow s, b ut a M a c versio n is pla nn ed . T he commercia l ve rsion o fth is fre e s et o f filte rs is P lu gin G a la xy . F or m ore in fo rm atio n, v is it www.thepluginsi te.com.

CALL TOACTIONFORTHE"DESIGN MAKEOVER"A s yo u m ay h ave no ticed , we've m ove d the "D e sign M a ke over" fro m o ur sister pu blicationLayers to the pages of P ho to sho p U se r. It was always our m ost popular column in Layersb ecau se d esign ers love pe ekin g in to the m ind s of o the r d esign ers. B ut th at's n ot w hat w e'rehere to talk ab out. W e're always looking for ta lented d esigners to partic ipate in the "M ake-over." So if you th ink you have the skills (and we know you d ol) and you 'd like the chanceto d isplay those skills on a national stage, then d rop us a line at letters@ photoshopuser.comwith a sub ject of "D esign M a keover." Just te ll us you're interested in b eing consid ered for afuture "M akeover," provid e a link to your portfolio , and we'll take care of the rest.

A nd d on't forget, all N A P P m em bers have the opportunity to d isp lay their existing work inthe "N AP P M ember G allery" right here in the "N AP P M ember Community" section. If youwant to b e consid ered for pub lication, just send fnelson@ kelbymed iagroup.com a n ema iltitled "N A PP M em ber G allery" a long with a few exam ples of your work-it's that easy.

I I y o u h a v e a ny id < 2S fo r th in gs y ou 'd l ik e t o s ee in y ou r " Co m m un it y ," d ro p u s a l in e a t l e tt e r s@ p h o t o s h o p u s e r . co m .

F o r t he l at es t l is t o f d is ro u n tsg o t o t h e D i sc o un ts s e ct io n atpO O t o o h o p u s e r . c o f l l / r T f f i l b e r s

> PORTRAIT PROFESSIONAL-NAPPmembers save 10% on the long-awaitedPortrait Professional vio. Enhance any portraitphoto in minutes wi th l it tle effor t.

> TREY RATCLIFF HDR TRAIN-ING DVDS-NAPP members get 10% offseveral hours of a step-by-step guided processfor creating HDR images. Trey's style isn't foreveryone, but if you like the look of the imagesfrom www.stuckincustoms.com. then i t mightjust be for you.

> CODI-CODi isa leading manufacturerand supplier of laptop bags and cases, mobileaccessories, and security. NAPP members receivespecial negotiated pricing on CODi products.

> DIGITAL ANARCHY: BEAUTYBOX-Buy Beauty Box Video, Digi ta l Anarchy'saward-winning skin retouching plug-in for videoand f ilm, and get 25% off and Beauty Box Photofor f ree! NAPP members also get 25% off anyother Digital Anarchy product.

> ANIMOTO PRO-Animoto Pro now haslO x faster render speeds, a slick new site layout,and sharper high-def in it ion videos. Sign up for ayear and get two free months.

> PRO COLOR GRAPHICS-ProColor Graphics isa full-service graphic design,sign, and large-format printing shop. All NAPPmembers receive 20% off any product.

> PHOTOMATIX-The folks at HDRsoft arepleased to offer NAPPmembers a 25% discount.

> PHOTODU DS-photoDUDS is offering aspecial20% discount to all NAPPmembers.

> SHUTTERSTOCK-NewShutterstocksubscribers that are NAPPmembers are eligiblefor a 10% rebates.

CORRECTION\',_---..." ".--==-",,"N A PP m em ber E lliott G , po inted out ane rr or in th e J an ua ry /F eb ru ar y 2 01 1 is su e o fP ho to sh op U se r. In t he " P h ot os h op & th eW eb" co lum n on p ag e 86 , w e lis ted th e fol-lo win g in co rr ec t exam ple o f th e < BR > t agu si ng t he c le ar a ttr ib ute : < B R c le ar =: "a ll" >.Th ere sh ouldn 't be a colon in th e code.T h e c or re ct c od e is : < BR c le ar =" aU "> . O u ra po lo g ie s to R af ae l "R C " C on ce pc io n, a sth e co de w as co rrec t w hen h e or ig inallys ub mitte d th e a rtic le f or p ub lic atio n.T h an ks , E llio tt, f or le ttin g u s k no w.
http://www.sonystyle.com/http://www.thepluginsite.com./mailto:[email protected]:[email protected]:[email protected]://www.stuckincustoms.com./http://www.stuckincustoms.com./mailto:[email protected]:[email protected]:[email protected]://www.thepluginsite.com./http://www.sonystyle.com/


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: . t :

SA USTOFSOMEOFTHELATESTTUTORIAlS:

3DTUNNEL DESIGN-Corey Barker

ENHANCINGLIGHT SOURCES-Matt KloskowskiSELECTIVESHARPENING-Lesa SniderTOTAL CONTROLGLOWNG MONTAGE-Mark S.JohnsonSTARPHOTO FILTER-Larry BeckerTRACING SHAPES-Dave CrossSINGLE AND FULLTONE MIXER BRUSHDYNAMICS-Darrell HeathDIVA LIGHTINGEFFECTS-Mark S.JohnsonPARTICLE EXPLOSIONEFFECT-Darrell HeathCREATING THEILLUSION OFPASSING TIME-Mark S.JohnsonGRUNGY TYPEEFFECT-Dave CrossKALEIDOSCOPEEFFECT-Corey Barker

om @mfeens tra : Spend ing ano thery w ith Kelb y T rain in g vid eos. Worthp ric e fo r the Jeremy Cowart lo ca tion

a lone.

om @H iB ab s: T hanks N A PP fork ing th is L a y e r s magaz ine gal feellc omed , w ith InOesig n and Illu str ato ro w ithin. E njo yin g m y first Photoshop

issue!

~NOTABL.E~ !W ET "

NEWTOURFROMKELBYTRAlNING UVE!Recently, a special event took place atNAPPheadquarters. Scott Kelby invited 30local NAPPmembers to come to our studioand sit in on a dress rehearsal of his Aew"Light It, Shoot It, Retouch It LIVE" tour;inspired by hiswildly popular DVD and Kelby-Training.com classes.Now Scott's new tour isready to hit the road. Attendees can expectto learn the entire shootingprocessfrom the ground up, go through different lighting setups for different looks, then moveon to full portrait retouches. Each segment ends with f inishing off the photos, adding portrai teffects, and learning some fun Photoshop tricks (including a whole segment on compositing).This tour is an excel lent opportunity to see exact ly how it 's done in real t ime and have your

questions answered on the spot. To see if Scott's corning to your neck of the woods, go to http}/kelbytraininglive.com.

THE PLANETSHAVEAUGNEDIn recent issuesof the NA PP N ewsw ir e, we've hinted at some pretty great news coming yourway. Now, we can finally tell you. NAPP is super pleased to announce that it 's joining forceswith Kelby Training to bring you the ultimate training membership package! Yup, that's right.Now NAPPmembers can combine their memberships with Kelby Training onl ine for one lowprice. Details can be found at KelbyTraining.comlUniverse, and be sure to check out our foldoutadvertisement in this issue (p. 67).

BORN TOREBELCanon recently announced twonew DSLRs,the RebelBi and B.A first for the Rebel l ineup, the18-megapixel RebelBi featuresa Vari-Angle LCD screen to helpphotographers compose low-angleor overhead shots. Another first forthis line is a built-in Speedlite Trans-mitter so you can use the onboardflash to control off-camera flash.Aimed at first-time DSLRusers,

the new EOSFeature Guide helpsbeginners understand settings and guides them to taking the best shots. In addition to settingexposure, focus, and white balance, the new A+ auto mode also analyzes faces, colors, bright-ness, movement, and contrast to produce more natural skin tones and more vivid colors. TheBi also supports full 1080p HD video, and with the new Movie Digital Zoom feature you canzoom into the action at magnif ications of 3-1 Oxindependent of the current lens.The lower-end B features a 12.2-megapixel sensor and supports 720 HD video. The Bi

retailsfor $799.99 for the body only and $899.99 with the new EF-S18-55mm f/3.5-5.6 ISIIzoom lens. The B retails for $599.99, which includesthe new 18-55mm lens.Canon also introduced two new Speedlites, the 320EX ($249.99) and the 270EX II

($169.99), and two new super-telephoto lenses, the EF500mm f/4 ISII USM ($9,499) andthe EF600mm f/4 ISI I USM ($11,999). The new lenses are lighter and more durable thantheir predecessors and contain two fluori te optical lens elements for better minimizingchromatic aberration and eliminating color blurring around edges. For more information onthe EOSRebels, Speedlites, and lenses, visit www.usa.canon.com .
http://www.usa.canon.com/http://www.usa.canon.com/


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From @ epicmot ion: Ser ious lypumped ! Ju st saved $ 50 onship pin g w ith B&H beca us eI'm a N A P P mem ber. So w orththe $ 99 !N O T A B M &1 V

) ) NAPPCOMMUNITY

FOUNDONFACEBOOKN A P P has a v ery health y prese nce on F aceb ook, inclu ding som e loc aliz ed pag es for S wed en ,Chicago, A rizona , the U K, and C anad a (with more to com e). Just search for "N A PP " andyou'll find us. Y ou'll a lso find fan pages for Scott K elb y, D ave C ross, M a tt K loskow ski, and"R C" C oncepcion . N ow , if w e could just get C orey B arker to take the plunge.

COOLCOOLPIXESFROMNIKONN ot to b e outd one b y other camera manufacturers , N ikon recently announced e ight new cameras in their COOLP IX line.H ere a re the hig hlig hts for tw o of thos e c am eras :

T he 1 2.1 -m eg apix el C OO LP IX P 5 00 in clu des a 3 6x optical Z oom -N IK KO R E D g lass lens (that's22.5m m to an am azing 81 0m m); b acksid e illu minated (B SI) C M OS sensor and E XP EE D C 2d u al im ag e p ro ce ss ors fo r h ig h-s pe ed c on tin uo us s ho otin g, e xc ep tio na l lo w-lig htq uality, and ad va nced perfo rm ance; and F ull H D (1 0 80 p) rec ord ing .

T he 12.1-m egapixel C OO LP IX P 300 com es with a 4.2 x w id e-ang le, f/l.8m axim um ape rtu re N IK KO R g lass lens (the fastest len s ever on a C OO LP IX ), an dfe atu re s A p ertu re P r io rity (A ) , S hu tte r P r io rity (S ) a nd F u ll M a nu al (M ) c on tro ls .T h e b a ck sid e illu min ate d (B S I) C M OS s en so r, h ig h IS O s en sitiv ity , a nd fa st w id e -angle f/1.8 le ns re su lt in s up erio r im ag e q ua lity in lo w-lig ht c on ditio ns .

T he P 500 w ill reta il for $399.95 in b lack and red , and the P 300 will reta ilfor $ 329.95 in b lack. F or m ore inform ation on these cam eras and the othern ew COOL P IX c am era s, v is it www.nikonusa.com.

NEWDVDPRICINGIn a time when everything from gasoline to groceries is costing more, would n't it b e

nice if the prices of certa in items would actually d rop? W e thought so too, andtha t's why we've lowered the prices on all our new tra ining D VD s from here onout. If you want to try something new or d ifferent, like photo painting or HD R,you can. P lus, t he N A P P m em ber d iscou nt is s till in effect, so you save even m ore.

Visit www.kelbytra ining.com/dvds for m ore info.

NOTABLENAPPMEMBERSS h o w c a s i n g t h e a c c o m p l i s h m e n t s o f o u r m e m b e r sT his is su e's N A P P m em b er of no te is Janin e S mith (a.k .a. @ L and ailyn on T w itter) from F orth W orth, T exas . J anin e is a profes sio nal p hotore storatio n artist and g enealo gist w ho w on the P hoto R estoration P ho to sh op U se r A ward in 2009 for her outstand ing work.

Janine also writes ab ou t restoration and preservation for the Fo rt W orth S ta r-T ele gra m, T he Han dley Hera ld, an d S hades O f TheDepar ted d ig ita l m agaz ine. If you 're a fan of @ T ipSquirrel on T witter or follow his b log, you know that Janine's tu toria ls a re a reg ularfe atu re . P lu s, in N o ve mb e r, s he re le as ed P h ot os h op E le m e nt s 9: S ca nn in g a nd R es to rin g P h oto s on Lynd a.com and has a lot m ore thing sp lanne d for the u pcom ing year.

W e asked Janine how N A PP helped her in these end eavors: "N A P P gave me the resources to improve my skills and to hone my craftto a level that garnered notice ... m y N A P P m em bership has not only gotten m e a great m agazine, b ut classes, tu to ria ls, contacts, andconfid ence b uild ers , a ll for $9 9 a year. It d oesn't get any b etter than tha t!"

T hanks, Janine. W e're g lad we cou ld b e a pa rt of y ou r g reat ach ievem ents a nd than k you for b eing a part of N A PP .If y ou have any news you 'd like to sha re , p lea se send it to FB@KelbyMediaGroup .com fo r cons i de r a ti o n .
http://www.nikonusa.com./http://www.kelbytraining.com/dvdsmailto:[email protected]:[email protected]://www.kelbytraining.com/dvdshttp://www.nikonusa.com./


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022

NAPP COMMUNITY) )

HELPDESKQUESTIONSOFTHEMONTHA n s w e r s t o P h o t o s h o p , L ig h t r o o m , a n d g e a r - r e la te d q u e s t i o n s) )

FROM: KARLSUBJECT: EXTERNAL FLASH BRACKETS

I was given a great C hristmas gift-a N ikon 0700. I'm looking intothe N ikon S B-90 0 ex ternal flash. In Scott K elb y's b ook ( Th e D ig it alP ho to gra ph y B oo k, V olum e 2] , h e s ay s a fla sh b r ac ke t is t h e best wayto g o w ith th e e xte rn al fla sh . I'm c on fu se d, h ow ev er, a s to w ha t fla shb racket w ould b e b est for m e. I h ave a M a nfrotto tripod and w ou ldl ike t o us e the b racket on the tripod , as w ell as on the cam era w henh an dh eld . S co tt re co mm end s th e R ea lly R ig ht S tu ff W P F -l, b u t th eirs ite m en tion s a n L -b ra ck et a nd o th er a cc es so rie s tha t I d o n't u nd er-s ta nd . I a ls o h av e th e M B - OlO m ultip ow er b atte ry p ac k.

HIKARL,T he re a re a b un ch o f o ptio ns fo r fla sh b ra ck ets , L -b ra ck ets , a cc es -s ories , e tc . B a se d o n S co tt's re comme nd atio n (w hic h I t hink is ag ood o ne ), I'll try to m ak e it e as ie r ...

F irst off, your b all head need s to b e the A rca Sw iss-type ofquick release for all these things to fit together. If you have ahead that u ses its ow n proprietary q uick releas e system , you 'llneed to upgrad e your head or ad d a quick release clamp:http://bit.ly/g1cuoa.

N ext, you 'll want an L-b racket that fits your M B -01 0:http://bit.ly/ieIQCz.

N o w it's tim e to look at the actu al flash b rac ket. If you w anta b racket that allows you to hand hold or shoot from a tripod ,s om eth in g lik e th e B 87 -Q R P e rfe ct P o rtr ait P a ck ag e ( M ed ium )provid es you w ith the m ed iu m flash b racket and the m ountingrail to p ut it a ll to ge th er: h ttp llb it.ly Ih Vx ye1 .-L au rie E xc ell

FROM: KENNETHSUBJECT: SORTING PHOTOS IN UGHTROOM

I have 12 photos that Iwant to re-sort. I c annot find any wayto d o that. A m I m issing som ething ?

HIKENNETH,Y ou can only d o a m anual sort when you're working withineither a sing le fold er or a sing le collection. So, if you w ant tosort im ages manually that are across a range of fold ers (orc olle ctio ns ), y ou firs t ne ed to pu t th em in to a s in gle c olle ctio n,then sort. L ig htroom refers to this sort ord er as "U ser O rd er."

O nce you're in either a sub fold er or a collection, then b esure to grab the im age itself, not the b ord er, and d rag-and -d rop in the ord er you d esire. You can d o this from the G ridview (G ) of the L ib rary m od ule or the F ilm strip in any m od ule.

N o te , y ou c an 't m an ually s ort p ho to s in a s ma rt c olle ctio n.-Rob Sylvan

MORE COMMUNITY INTERACTIONH e r e a re m o re w a y s t o i n te ra c t w it h u s a n d o t h e r N A P P m e m b e rs) )

oN>-0::1 :

NAPPNEWSE v e r y _ L a r r y B e c k e r , l he E x i r u li ve D i re c to r o l lh e N A P P ,

r e p o rt s o n th e la e s t in d u s tr y n e v ,( ).G a c h h is r ep o r t o n th eN A P P m e m b e r h o m e p a ge o r a t I W I W . k e l b y tv . o o m .

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NAPP MEMBER GALLERY) )

W H E R E NAPPM E M B E R S MEMBERX H I B I T

J ,~~~GALLERY

M I C H A E LC R O M W E L LM i c h a e l ' s f in e a r t c o m b in e s d e s ig n , p h o to g r a p h y , a n dd ig it a l im a g in g - u s in g e le m e n ts f r o m t h e H a w a ii a ne n v ir o n m e n t. A f t e r m o r e t h a n 3 0 y e a rs a s a g ra p h ic

d e s ig n e r a n d a d e s ig n in s t r u c t o r a t t h e C o lle g e f o r C r e a t i v eS tu d ie s in D e tr o it , h e m o v e d t o t h e B ig I s l a n d o f H a w a i i ." M o t h e r N a tu r e i s t r u ly v a s t , p o w e rt u l, a n d m e s m e r i z in g .

M y a rt w o rk i s a v is u a l f o ru m a n d t r ib u t e , a llo w in g v ie w e r st o g e t u p c lo s e a n d p e r s o n a l , w i t n e s s t h e s h e e r b e a u t y ,

a n d f e e l a n a tt a c h m e n t t o n a t u re ," h e s a y s .w w w . m i c h a e l c r o m w e l l. co m ;m t c @ m ic h a e l c ro m w e l l . c o m

M A U R I C I OC A N D E L AM a u r ic io s ta r t e d h is c a re e r in a d v e r t i s in g in t h e '9 0 s w o r k in ga s a n a rt d ir e c t o r f o r s om e o f t h e m o s t im p o r t a n t a g e n c ie s i nC o lo m b i a . I n 1 9 9 9 h e m o ve d t o t h e U .S . w h e r e h e b e c a m e ac re a t i v e d ir e c t o r . A t t h e s a m e t im e h e d e v e lo p e d h is p a s s io nf o r p h o to g r a p h y , im p r o v i n g h is s k i l l s a n d a p p ly in g h is c re a t i v ek n o w l e d g e t o t h is d is c i p lin e . " A s a n a d v e r t i s in g c re a ti v e , Il e a r n e d t o l i v e o ff o f m y id e a s . T o d a y , m y b e s t i d e a w a s t ol i v e o ff o f p h o to g r a p h y , " h e s a y s .w w w . m a u r ic io c a n d e l a .c o m ; c a n d e l a @ m a u r ic io c a n d e l a .c o m

S T E V ES O M E NS t e v e is a s e l f - t a u g h t a r t i s t f r o m C h ic a g o . A s a n a rm yp h o to g r a p h e r , h e s tu d i e d A n s e l A d a m s ' Z o n e S y s t e m .R e c e n t l y , h e m a d e t h e c o n v e rs io n t o t h e d ig it a l w o r ld .H i s a p p ro a c h is a l i t t l e o ff b e a t; e v e n t h o u g h i t a p p e a rss tr a ig h tf o rw a r d , h is w o r k e n te r t a in s t h e a b s t r a c t. H e h a sm a d e g re a t s tr i d e s u s in g K e lb y T r a in in g a n d a tt e n d i n gN A P P s em i n a r s . " I o n ly w is h e d w e c o u l d h a v e r e a l i z e do u r im a g in a t io n s b a c k i n t h e w e t d a r k ro o m d a y s . N o ww i t h P h o to s h o p , w e c a n , " h e s a y s .w w w . s te v e s o m e n . c o m ; s s jo a t @ y a h o o . c o m

I f y o u 'd l i k e 1 0 h a v e y o u r w o rk c o n s id e re d l o r p u b l i c a t i o n i n t h e " N A P P M e m b e r G a ll e ry ," s u b m it s am p le s 0 1 y o u r a rt w o rk t o I n e ls o n @ k e lb y m e d i a g r o u p .c o m .
mailto:www.michaelcromwell.com;[email protected]:www.mauriciocandela.com;[email protected]:www.stevesomen.com;[email protected]:[email protected]:[email protected]:www.stevesomen.com;[email protected]:www.mauriciocandela.com;[email protected]:www.michaelcromwell.com;[email protected]


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STEVE SOMEN

STEVE SOMEN

MAURICIO CANDELAMAURICIO CANDELA

MICHAEL CROMWELL


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~'"II:: >noIIIIo~oIa26

IMAGES OF THE WEEK

01.17.11) ) DEENA WILDER

01.24.11 ) )RETOUCHER. PAUL BARTELLPHOTOGRAPHER JIM BOTTORFF

01.31.11) ) JIM COUCHENOUR

02.07.11 ) ) T.e. DE HOYOS

02.14.11) ) JAMES OUANTZ JR.

STEVE SOMEN


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SLT A55Change the way youshoot pictures with Sony'snew Translucent MirrorTechnology. The SLT-A55Vfeatures professional-gradecontinuous shooting at 10fpsand visibly faster, moreaccurate focus in Uve Viewand HD Movie modes


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028

LIVE TRAII'.JING ) )

~ SEMI RSSHOOT IT.IT.UVE!w i th S c o t t K e l b y

S c o tt K e lb y , a w a rd in g w in n in g a u t h o r o fT h e D ig i t a l P h o to g ra p h y B o o k a n d E d it o ro f P h o t o s h o p U s e r m a g a z in e , b ri n g s o n eo f h is a ll - t im e m o s t p o p u la r O n li n e c la s s e st o f i f e i n t h is a m a z in g d a y w h e r e y o u le a rni t a l l ; t h e l i g h t i n g , t h e s h o o t i n g , a n d t h er e to u c h in g , a ll l i v e a s it h a p p e n s . Y o u 'l ls e e e ve ry t h in g u n f o fd f r o m s c ra tc h in e a c hs e s s io n , w i t h d if f e r e n t I i g h t i n g s e t - u p s a n dlo o k s , a s S c o t t s ta rt s w i t h a n e m p t y s ta g e ,a n d t h e n p u t s t o g e th e r t h e l i g h t i n g f o r a l i v ep o r t r a it s h o o t . Y o u ' r e r ig h t t h e r e a s h e t a k e sy ou t h ro u g h t h e e n t i r e s ho o t . t h en h e t a ke st h o s e v e r y s am e im a g e s in to P h o to sh o pw h e re h e s ha re s h is v e ry la te s t p o r t r a it r e -t o u c h in g t e ch n iq u e s , s o y ou c a n s e e e xa c t l yh o w i t ' s a ll d o n e f r o m s t a rt t o f i n is h .

M i n n ea p o l i s C o n v e n t i o n C e n te rA p ril 4, 20 10

I n d i a n a C o n v e n t i o n C e n te r & R C A D o m eA p ril 6 , 20 10

D o n a ld E . S t ep h en s C o n v e n t i o n C e n te rA p ril 7 , 20 10. . . .

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w ih S c o t t K e lb y o r M a l t K l o s k rJ w s k iG e t r e a d y f o r t h e b e s t P h o to s h o p @ L ig h tr o o m t r a in in g o n t h e p la n e t! Y o u 'l l be t a u g h t b y S c o t tK e lb y o r M a l l K lo s ko w s k i , t w o o f t h e w o r ld 'st o p U g h tr o o m e x p e rt s . S i t t i g h t a s I h e y s h o wy o u a n I n s id e r 's v i e w o f U g h tr o o m . F ro m

L I V E

T h e O f f i c ia l A d o b e P h o lo s h o p 8 S e m in a r T o u rS p o n s o re d B yr ~ '(jf!!)a t i o n a I A s s o d a t i o n ofA d o b e Photos IxJp~

S ta rt t o F in is h , f r o m im a g e c a p tu re t o f i n a lp ri n t - y o u 'l l s e e i l u n f o ld r i g h t i n f r o n t o f y o u ,a s y o u le a m s te p - b y - s te p h o w t o t a k e c o o tr o lo f y o u r d ig i t a l p h o to g ra p h y w o r k f l o w .T h i s s e m in a r w il l t e a c h y o u h o w t o t a k ey o u r p h o to g r a p h y t o a n a m a z in g n ew le ve lo f p ro d u c ti v it y , e ff i c ie n cy , a n d fu n w i t h r e a lw o rl d i n s id e r t e c h n iq u e s t h a t w i ll m a k e y o u rl i f e e a s i e r , a n d f r e e y o u r t im e s o y ou c a n d ow h a t y o u r e a ll y w a n t w i t h y o u r p h o t o g ra p h y .T h e d a y b e g in s b y t a k in g p h o to s r i g h t i n tol i g h t r o o m s o y o u s e e t h e e n ti r e p r o c e ss f r o mb e g in n in g t o e n d . Y o u ' l l l e a r n h o w t o s e t u pL i g h t r o o m t h e r i g h t w a y f r o m t h e s t a r t, t o s a v ey o u h o u rs o f w a s t e d t im e a n d f r u s t r a ti o n .Y o u ' l l l e a r n h o w t o e d i t y o u r R A W , T IF F , a n dJ P E G im a g e s l i k e a p ro , a n d u s e P h o t o s h o pa n d L ig h tr o o m s e am l e s s ly t o d ra m a ti c a l l yi n c re a s e y o u r p r o d u c t i v it y a n d e n h a n c e y o u rw o r k f l o w .v i s it k e l b y t ra l n ln g l lv e , c o mlo r upcoming da tes

w i t h B e n W i ll m o r eT h e P h o to g ra p h y & P h o to sh o p C S 5 : F ro mF o c u s t o F in is h e d T o u r i s f o r t h e p h o to g ra p he rw h o i s s e r i o u s a b o u t l a k in g t h e i r s k i l l s t o aw h o le n e w le v e l ! B e n 's c re a te d f i v e c u tt i ~ -o c I g e s e s s io n s p a cs e d w i t h n o th in g b u t h ism o s t s o u gh t- a f t e r a d v an c e d t i p s , t r i c k s , a n dp r o fe s s io n a l t e c h n iq u e s .B e n 's t o u r f e a t u re s t w o f u ll s e s s io n s o na d va n ce d s h o o ti n g t e c h n iq u e s a n d m e th o d s .T w o th a t a re g u a ra n t e e d t o d ra m a t i c a l l yim p r o v e y o u r P h o to s ho p s k i l l s , a n d o n e t h a ts h o w s y o u h o w t o p u t i t a ll t o g e t h e r, g iv i~

y o u a c re a ti v e r o a d r n a p t o h e lp y o u p ro d uc eg o rg e o u s , p ro f e s s io n a l r e s u lt s t h a t a r e a t r u er e f l e c ti o n o f y o u r p h o to g ra p h ic i n s p ir a t i o n . A tt h e e n d o f t h e d a y , y o u 'l l h a v e t h e t o o ls y o un e e d t o d ra s t ic a ll y im p r o v e y o u r s h o o ti n g a n dP h o t o s h o p s k il l s . G u a r a n te e d !v i s it k e l b y t ra l n ln g l lv e . c o mfor upcom ing da te s

REGISTRATIONINFORMATION


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30

.JAKE WIDMAN

I B E F O R E I

"IN ADDITION TOTHE SHORTTIME FRAME, OSHEA ALSOHADTODEALWTHACOMMONWEB DESIGN ISSUE: THEDESIRE OFSTAKEHOLDERSTOHAVETHEIROWNPROJECTORLINKONTHE HOMEPAGE_"

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CLIENT

minority report~ T he W estern Q ueb ec School B oard serves the E nglish-speaking

com mu nity in a reg ion the size of N ova S cotia, C anad a. In Q u eb ec,E ng lis h s pe ak ers a re a m in ority in a p ro vin ce tha t's p olitic ally c om -m itted to its F rench id entity. S o w hile there are sixty F rench schoolb oard s in Q u eb ec, there are only nine E ng lish b oard s; the W esternQ ueb ec S chool B oard 's reg ion has seven F rench b oard s.

T he b oard is w hat W eb master and M ic rosoft O ffice Specia list,J oha nn e P o irier O 'S he a, c alls a "pa ra go vern me nta l" o rg aniz ation :it's a n on pro fit s ub sid iz ed b y th e p ro vin cia l g ov ern me nt, b u t it's s tills om eth in g o f a po litic al s te pc hild . B e fo re 2 00 5, th e b oa rd 's w eb sitewas all in E nglish, b ut in that year they were told they had to havea F rench version, as well. So O 'Shea had to launch a whole newb ilingual s ite in a m atter of just a few weeks.

In ad dition to the short time frame, O 'Shea also had to d ealw ith a common W eb d esign issue: the d esire of s takehold ersto have their own project or link on the homepage. T he result,among other things, is a row of b uttons d own the left sid e thatlink to teachers' resou rces, the online version of the local new spa-per, and other sites. "It's crowd ed ," says O 'Shea. She asked if wec ou ld g iv e th e s ite a fre sh er, c lea ne r ap pe aran ce .

O ne b ig re stric tio n: n o F las h. S in ce the b oard is a p ara go ve rn men -tal o rg an iz atio n, th e s ite h as to b e a cc es sib le fro m g ov ern me nt c om -pu te rs , a nd th os e o ften ha ve F la sh b loc ke d fo r s ec urity re as on s. W eask ed three d es igners to take on the challeng e of provid ing accessto the b oard 's vast array of inform ation in a cleaner, eas ier m anner.

..JAKE WID MAN is a w rite r a nd e dito r w ho live s in S an Fra nc is co . He 's b ee n c ove rin g the in te rs ectio n o f c om pute rs a nd g ra ph ic de sig n fo rabou t 25 yea rs now -s ince back when it w as a ll ca lle d -deskto p pub lish in g" an d P ho toshop wa s jus t a p ie ce o f s ca n nin g s oft wa re .rrUl


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I A F T E R IoVcs+ern Q._u';bt:'l: : " --._ .. . ,----------------------------------- &. .,- ,~- .......,..~.. ~

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32

I A F T E R J

l

"THE LIGHTER SHADEGIVESTHE SITEARELAXING FEEL, ANDITCOMPLEMENTSTHE TEAL USED FORTHE BODY COPY ANDMAIN HEADLlNES_"

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A B O U TT H E D E S IG N E R

~ M y initial impression of the W estern Q ueb ec School B oard site wasthat it was informational yet overwhelm ing. T he content layoutc am e ac ros s a s v ery b us y a nd d is org an ize d, w hile re le va nt in form a-tion and important areas-such as the navigation-were b uried ,making it extremely d ifficu lt for users to find the content they werelooking for q uickly or easily. I chose to cond ense and clarify som eof the im portant areas, b eg inning w ith the ad d ition of a su b-navi-gation b ar at the top of the screen. T hat b ar houses links to H ome,W e bma il, S ea rc h, a nd th e F re nc h-la ng ua ge version of the site.

Since the site serves many aud iences, I kept the navigationconsistent with the previous d esign. T he only ad dition was theR es ou rc es s ectio n, w hich a llow s for ea sy ac ces s to fre qu ently u se d o rrefe re nc ed lin ks. I a ls o inc lu de d th at s am e s ec tion o n th e ho me pa gefor those users w ho m ay b e accustom ed to accessing it from there.

S in ce th e s ite serves m any purposes, I a dd ed a jQ uery photo slid eshow that can easily b e m aintained throug h a text file. T he resu ltingmovem ent ad ds an ad ditional element of interest to the page.

A s for the colors, I s tarted b y choosing a soft, calm ing b lue w ithinthe sam e hue that they previously used . T he lig hter shad e gives thesite a relaxing feel, and it complements the teal used for the b od ycopy and m ain head lines. On the far right sid e, I a dd ed a sid eb ar forQ uick L inks and inform ation on U pcom ing E vents.

T he m ain h ea dline s an d n av ig ation e lem en ts are in C entu ry G o th ic,w ith th e w elc om e tex t in P ris tina . B o th typ efa ces c on vey a c lea n, c ris p,and professional look that can b e used throu ghou t the site.

B y m ak in g th es e c ha ng es , I f ee l th e s ite is c le an , m ore o rg an iz ed , a ndma in ta in s a p ro fe ss io na l l oo k t ha t w il l serve th em for y ea rs to c om e.

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I A F T E R ] ~ T he orig inal s ite was really b ad ly org anized , and tha t w as the firs tp rob lem I encountered . N avigation w as frag mented through thes ite a nd w as n't em ph as iz ed .

D e co ns tru ctin g th e s ite , I n otic ed th re e d is tin ct g ro up s o f p eo plethat use the site-pa rents, stud ents , and sta ff-so I created thefeatu re that placed those areas of interest in a prom inent plac e o nthe hom epage. T he site was overcrow ded w ith w id gets that reallyclu tte red the space, so I t ried to relocate them for a b etter userexperience. I introd uced a new sec tion in the m id d le of the b ottomof the page called A ctive P rojects to featu re m ore of them .

I pos itioned the ema il link at the top of the page, nex t to theC ontact U s link, as part of m aking the navigation m ore usefu l. A ndfig urin g th at a ll three g rou ps of u sers are interested in w ha t's g oingon and when, I pu t the events calend ar in the focal poin t o f theh om epa ge, w here it w ill b e m ore acc ess ib le and easily no ticed .

W ith the content reorganized , the second prob lem was theou td ate d g raphics. T he b rand ing w asn't particu la rly m em orab le , soI c reated a new logo. I thought the orig inal's use of a m ortarb oardand d ip lom a w as som ething of a cliche, so I t ried to use a d ifferenta pp ro ac h, o ne th at w ou ld e mp ha siz e th e s ch oo l b oa rd 's a d min is tra -tive ro le. T he d og -eared page elem ent in the new logo also carriesthrou gh to g raphic al elem ents else where on the pag e.

T he layout is b ased on a 16-column grid and provid es morew hite spa ce th an b efore. T he typ og raphy is b ased on T ypem ad e'sb e au tifu l J os efin fo nt fa mily (fre e fro m fo nts qu irre l.c om ). T h e s an sserif version w as used for the titles and links, while the slab serifwas used for the b od y text. T his font is licensed to use freely andis easy to im plem ent as a @ f ont-face, w hich should w ork acrossv ar io u s b r owser s.

" . . . 1 PUTTHEEVENTSCALENDAR INTHEFOCALPOINT OFTHEHOMEPAGE, WHEREITWLLBEMOREACCESSIBLE ANDEASILYNOTICED."

A B O U TT H E D E S IG N E R:>ootr" 'II:: >a .oI


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COLUMN> >

~DOWN & DIRTY TRICKSA ged Illus trated Ph oto E ffectT here m ay b e tim es when you want to take a photograph b eyond the norm and m ake it into som ething unique.Here ,w e'll e xp lo re a coo l te ch niq ue fo r tu rn in g a pho to in to an antiq ue -lo ok in g d rawing o n a p ie ce o f a ge d parc h-men t p aper.We 'll a ls o e xp lo re a c le ve r u se o f s ome new b le nd mod e s in CS5 th at I l ea rn ed from Calvin Holly wood .

COREY BARKER

~ STEPONE: Go to File>Open and locate the texture file thatyou would like to use for the background. This can be almost anytexture, so feel free to try different types of paper textures. In thiscase, we have a nice aged parchment texture from iStockphoto.com, which we'll enhance by converting a photo into a drawingand making it look aged on the paper texture.

!NAPP members may download the fi les used in this tutorialfrom www.photoshopuser.com/memberslaprmayll-downloads.html. All f iles are for personal use on~.l

STEPTWO: Open the photo that you want to convert intothe illustrated effect. Here we have a simple stock image fromFotolia.com of a young model. The positioning and lighting ofthe subject in this image will lend itself well to this effect. Thecool thing about this effect is that with just a little tweaking ofthe following settings, you can do this to almost any photo.

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STEPTHREE:With the file open, switch to the Move tool (V),hold down the Shift key, and drag-and-drop the model onto thepaper texture background file (the Shift key wi ll place it in the cen-ter). The model will appear on a new layer (Layer 1). If necessary,press Command-T (PC: Ctrl-T) to put the layer in FreeTransformmode and scale it to best f it the composit ion. Hold the Shif t keyas you click-and-drag the control handles of the FreeTransformbounding box to maintain proportion. PressReturn (PC: Enter)when finished to commit the transformation.

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STEP FOUR: Go to lrnaqec-Acjustrnentsc-Oesaturate. aswedon't need the color information for this effect. Next, make aduplicate of this layer by pressing Command-J (PC:Ctrl-J). Then,turn off the visibil ity of this duplicate layer (Layer 1 copy) by click-ing the Eye icon to the left of it in the Layers panel. Click on theoriginal layer (Layer 1)to make it act ive.

STEP FIVE: To make the image look less like a photo andmore like a shaded sketch, we need to lessen the amount ofdetail in the image by blurring it. To blur the image but keepthe edge detail, we need to use the 5urface Blur filter. Go toFilteroBluc-Surtace Blur. Set the Radius to 5 pixels and theThreshold to 5 levels. These settings will vary on different imagesand may require some experimenting to get the look you want.Once done, click OK. Go ahead and turn off the visibility of thislayer (Layer 1)for the moment.

STEP SIX: Here's where the Calvin Hollywood blend modetrick comes into play. We're going to use one of the new blendmodes that's only available in Photoshop (55. Click on theduplicate layer (Layer 1 copy) to make it active, and then clickwhere its Eye icon used to be to make it visible again. Makeanother duplicate from this layer (Layer 1 copy 2) by pressingCommand-J (PC:Ctrl-J). Go to the layer blend mode drop-downmenu at the top left of the Layers panel and select the Divideblend mode. The image will appear to go completely white.

Note: If you don't have C55, you can try an older method bygoing to Filter>5tylize>Find Edges.This will apply a sketch effectbut you won't have the f lexibility of modifying the effect asyoudo with the blend mode method.

STEP SEVEN: Go to the Filter menu again and choose Blur>Gaussian Blur. The amount of the Blur depends on the image thatyou're working with. A s you move the Radius slider to the rightand increase the blur, you'l l seethe sketch effect start to emerge.Try pushing the Radiusto the max and then back i t off unti l you getthe look you want for the sketch effect. Forthis image, we set theRadiusto 8 pixels. Click OK.

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DOWN &DIRTY TRICKS) )

STEP EIGHT: M erge this layer (Layer 1 copy 2) w ith the layerjust b elow (Layer 1 copy) b y pressing Com mand -E (P C: C trl-E ),C hange the layer b lend m od e of the resulting m erged layer (Layer 1copy) to C olor B urn in the Layers panel. C reate a d uplicate of th isla yer an d ch an ge th e lay er b len d m od e of the d uplica te la yer (La ye r 1copy 2) to Linear B urn. T his w ill b uild the effect up b y stacking andb lend ing the layers w ith the paper textu re we started w ith.

STEP NINE: W hile these b lend m od es work really well for thisim age, it m ay b e necessary to try other b lend mod es if the imageisn't looking exactly the way you want. T his can b e d one quickly b yhold ing d own the Shih key while pressing the + ( plu s) k ey r ep ea t-ed ly to cycle d own through the b lend mod e list.

STEP TEN: R eactiva te th e origina l im ag e lay er w e ap plie d th eSurface B lur to in Step F ive and m ake it v is ib le. C hange its b lendm od e to Color B urn, as well. T his w ill p rovid e the shad ing to ad dm ore contrast to the overa ll sketch effect. If the resu lt seem s a b ittoo intense, however, you can lessen the effect through the useof a layer m ask. H old d own the O ption (P C: A lt) key while clickingthe A dd Layer M ask icon (circle in a square) at the b ottom of theL ay ers pa ne l. T his w ill h id e th e lay er b y crea tin g a la yer m ask filledw ith b la ck.

STEP ELEVEN: S ele ct th e B ru sh to ol (B ), c lick th e b ru sh th um b -nail in the O ptions B ar, and select a soh-ed ged b rush in the B rushP re se t P ic ke r. If y ou 're u sin g a p re ss ure -se ns itive ta ble t, y ou c an g ointo the B rush panel (W ind ow> B rush) and activa te the T ransfer op-tion in the list on the left. T hen, set the C ontro l d rop-d own m enusfor b oth O pacity Jitter and F low Jitter to P en P ressure. If you're notusing a tab let, then you can sim ply d rop the O pacity of the b rush in

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"C reatin g a j in e art black an d w hite photograph starts w ith an artistic idea . T he 11I0sichallen gin g part is the con version to black an d w hite. S ilver E fex P ro 2 e n su re s th atm y en d resu lt m atche all the dram a, ton es, an d n uan ces that I orig in a lly had il lm in d. Q uite sim ply, S ilver E fex P ro 2 g iv es m e c om pl ete a rtis tic fr ee do m."

B e rg e n o p Z o o m , H o lla n d

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STEPTWELVE: Final ly,set the Foreground color to white bypressing the D key. Then, paint in the areasof the layer where youwant to bring in shading and detail to the il lustrated image. Makesureyou're painting on the layer mask and not the layer itself(thereshould bethin black l ines around the layer mask thumbnail in theLayers panel; if not, click on the layer mask thumbnail to make itactive). If the effect is still too intense, you can always drop theOpacity of the layer i tself in the Layerspanel to lessen the effect.

Here you can see the final result . When combined with the imageof the paper texture that we started with, the sketch we createdfrom the photo now looks l ike an aged drawing. Here's anotherexample of this sametechnique using a different image. Once youhave the basic technique down, you can try it on other imageswith other textures, and as I mentioned earlier, with just a littletweaking of the settings you can achieve this effect with almostany photo . 01

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"In my studio we do ellery thing withElinchrom's BXRi compacts. In fact, all mystrobes are Elinchrom lights - but I don't justuse them in the studio - they're with me forlocation shoots and when I'm on the roaddoing my live training sessions around thecountry. I need light Ican count on ellerytime, and the BXRi's are ultra consistent andIncredibly dependable, and that's reallyimportant to me.

I especially love the BXRi's built-in Skyportwireless control and triggering system,because it lets me change power and lightingratios right from the top of my camera (nomore cl imbing up ladders, or pull ing downbooms, or getting out of "the zone" lust tomake a simple adjustment) . I do all r ight frommy camera position, and it saves a ton of time,frustration, and money.

Skyport has sailed my butt on more than oneoccasion and honest ly, now that I have this typeof control I just couldn't go back just being ableto pop the lights.The BXRi's with the buil t- inSkyports have changed everything, and that'swh y I tell all my friends who are photographers- you gotea go Elinchrom.Ilove my BXRi's, they ?J.ust flat out rock! /... ~r,IJIPhotoshop was not (used to place any elements in this image.Learn more about cameras, photography,Photoshop, Ughtroom and many otherphotography related topics atwww.scottkelby.com

infoOelinchrom.us www.elinchrom.us
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COLUMN> >

~DOWN&DIRTYTRICKSNarnia Snow P os ter

FELIX NELSON

The promotional poster for The Chronicles of Narnia: The Voyage of the Dawn Treader seems fairly in-nocuous. It's a lion's head in a snowy scene but there's something about the warm color of the eyessurrounded by contradictory, blustery, blue tones that gives the image a very dramatic visual appeal.

~ STEP ONE: Open an im-age of an animal or person(a lion in our example). PressCommand-L (PC: Ctrl-L) tobring up the Levels dialog.When the dialog appears,move the Shadow Input Le-vels sl ider (the black one onthe left) toward the centerto slight ly darken the image. Cl ickOK. Now, press Command-U (PC:Ctrl -U) to bring up the Hue/Satura-tion dialog. Enter -3 for Hue,31 forSaturation, and click OK.

[N APPm em b er s m a y d ow nlo a d th e im a ge u se d in th is tu to ria l a twww.photoshopuser.comlmembers laprmay11-downloads.html. A llfiles are fo r p e rs o na l u se o n ly .]

STEP TWO: Choose the Dodge tool (0). In the Options Bar,set the Range to Midtones and the Exposure to 30%. Using asoft-edged brush, lighten some of the highlight areas in the image,especially around the eyes, nose, chin, and the outer portions ofthe mane. Now, choose the Burn tool (nested under the Dodgetool). With the Rangeset to Midtones, use a soft-edged brush toburn (or darken) the areas under the chin, around the lion's leftcheek, and along the mane (seeexample).

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STEP THREE: Drag the Back-ground layer onto the Create a NewLayer icon at the bottom of theLayerspanel to create a duplicate(Background copy). Bring up theHue/Saturation dialog again. Check

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the Colorize box, enter 204 for Hue,55 for Saturation, 10for Lightness,and click OK. Click the Add LayerMask icon (the gray square with the white circle in i t) at the bottomof the Layers panel. Choose the Brush tool (B), lower the Opacityto about 30% in the Options Bar, and press Dthen X to set theForeground color to black. Usea soft-edged brush to paint awaythe areasaround the eyes, nose, and muzzle. Focuson the highlightareas of the image (the left side in our example). Note: Make sureyou completely reveal the eyes and tip of the nose of the originallayer beneath the masked layer (Background copy).

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STEP FOUR: Click the Cre-ate a New Layer icon to createa new layer (Layer 1). Press Dthen X to set the Foregroundcolor to white. Choose the Brushtool and select a small, soft-edged brush (we're using a9-pixel brush). Go to the Brushpanel (Window>Brush) andturn off ShapeDynamics on theleft below the BrushTip Shapesection. Next, click on the wordScattering below, check Both Axes, and enter 1000% for Scatterand 100% for Count Jitter. Now, click on the words Dual Brushand make sure Both Axes ischecked, Scatter is 1000%, and Sizeis30 px. Finally, click on the word Transfer and paint in some small,random snowflakes.

Note : If you're using a mouse, the Control setting in the Brushpanel will default to Off. If you're using a tablet, as we are, thedefault isPen Pressure.

STEP FIVE: Create anothernew layer (Layer2). IncreaseyourBrush size to about 25 pixels(pressthe Right Bracket key toincreasethe Brush sizeby 5 pixelsat a time). Click on the wordsWet Edges in the Brush panel,and paint in some larger snow-flakes on Layer2.

STEP SIX: You'll want toslightly blur the snowflakesyou created on Layer 2, sochoose Filteo-Bluc-GaussianBlur, set the Radiusto 2 pixels,and click OK.

> > DOWN &DIRTY TRICKS

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STEPSEVEN: C re ate a no th er la ye r(L ay er 3 ) and p aint in m ore s now flake su sing the sa me B ru sh size and s etting s.P r es s C o mm an d-F (P C : C trl-F ) to a pp lyth e p re vio us filte r (G a us sia n B lu r), th enchange the layer b lend m od e to O verlay .

Note: R ep ea t S te ps F iv e t hro ug h S ev enas many times as you wish (we ad ded fivem ore la ye rs ), v ary in g th e s iz e o f th e b ru shand the amounts of b lur to create d epth.Rememb er, keep some of the layers infocus and completely b lur out some ofthe other snowflake layers to ad d m ore d epth and realism .

STEPEIGHT: C lick on the B ackgrou nd copy layer (the one w iththe b lue tint w e created in S tep T hree) in the Layers pane l to m akeit the active layer. C lick the A d d a Layer Style icon (fx) at the b ot-tom of the Layers pane l, and choose Inner G low from the lis t. C lickon the yellow color swatch, choose white as the co lor, and click O K.C hoose Overlay for the B lend M od e and click OK to apply the stylean d com plete the effect . 0

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) ) KEve 0NeE PTS: Lasso t oo l~DOWN & DIRTYTRICKSLess Is M ore P hoto E ffect

FELIX NELSON

I've seen this technique used in several different types of promotional materials but most recently ina series of high-contrast images by contributor VikaValter on iStockphoto.com. Our version is a simpletechnique that shows less of the original image while giving it more visual impact.

~ STEP ONE: Open an image of a face. Choose Filteo-SharperoSmart Sharpen. Enter 200% for Amount and click OK. Drag theBackground layer onto the Create a New Layer icon at the bottomof the Layerspanel to duplicate the layer (Background copy). PressCommand-Shift-U (PC:Ctrl-Shift-U) to desaturate the layer (create agrayscale image).

[NAPP m em be rs m ay down load the im age used in th is tuto ria la t www.photoshopuser .comlmembers laprmay l l -downJoads .h tmJ.All file s a re fo r p ers on al us e o nly ]

STEP TWO: PressCommand-L (PC: Ctrl-L) to bring up theLeve ls dialog. Click on the blackInput Levels slider on the leftand drag it toward the right, orenter 96 in the Shadow InputLevel f ield. Click on the whiteslider on the right and move ittoward the left, or enter 187 inthe Highlight Input Levelfield. Finally,click on the gray slider in thecenter of the dialog and move i t slight ly toward the left , or enter1.39 in the Midtone Input Levelf ield. Cl ick OK. PressD, then X toset the Foreground color to white. Choose the Brush tool (B) fromthe Toolbox. Using a soft-edged brush, paint away everythingexcept the lips, eyes, right eyebrow, and nose. (Note : We'l l addback the left eyebrow in the next step.)

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STEP THREE: Choose theLassotool (L)from the Toolboxand make a loose select ionaround the right eyebrow. Bringup the Levelsdialog, move theblack Input Levelsslider towardthe right to 147, and clickOK. PressCommand-Option-T(PC: Ctrl -Al t-T) to bring up theFreeTransform bounding box.Right-click in the center of the bounding box and choose FlipHorizontal. Reposition the "flipped" eyebrow over the left eyeand press Return (PC: Enter) to apply the transformation. PressCommand-D (PC:Ctrl-D) to deselect.

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STEP FIVE: Using the selec- Lt'wtlt . . .tion tool of your choice (we (-c-t )used the Lassotool). make a ~select ion around the left iris (._ )and pupil. Bring up the Levels "-ialog. enter 60 in the ShadowInput Level field. 241 in theHighlight Input Levelfield. and ro inclick OK, Make a select ion ofthe right irisand pupil and bring

huft; ' 1K1r01I \up the Levelsdialog, Enter 79in the Shadow Input Levelfield.236 in the Highlight Input Levelfield. and click OK, [ If y o u wou ld " . . . . .lik e m o re in fo rm a tio n a bo uthow to use the Lasso too l tomake se lec t ions ,v is i t www.pho- mt oshopuse r , com lkeyconcep ts . ]

STEP FOUR: Press Com-mand-U (PC: Ctr l-U) to bringup the Hue/Saturation dialog.Check the Colorize checkbox,enter 21 for Hue. 18 for Satu-ration, and click OK to applya slight brownish tint to thegrayscale image.

STEPSIX: Hold down the Shiftkey, select the left eye (only theiris and pupil) so both eyesare se-lected. and pressCommand-J (PC:Ctrl-J) to put the selection on itsown layer (Layer 1), Bring up theHue/Saturation dialog. enable theColorize checkbox. enter 75 forHue. 25 for Saturation. and clickOK. Choose Filteo-Sharperc-SmsrtSharpen, Enter 75% for Amountand click OK,

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Small, but powerful

T h e LITILE TREEs des ign is a regis tered trad em ark.It can only b e used b y th e trad em ark ow nerand th os e w h o h ave our p erm is s ion.T o ask p e rm is s ion , e-m ail legal@ lit tle-trees .com

www.little-trees.come T ree d esign, C AR -F RESHN ERnd l r rne TREESare trademarks. 2011 by Julius Sarnann Ltd.
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cameras and lenses b ecause gear matters when it comesto concert pho to gra phy. I'm not say in g th at hav in g th e la te st andgreatest cam era and lens com bination will make you a b etterconce rt ph otographe r or im pro ve your com position o r tim ing, b utth e r ig ht came ra a nd le ns w ill a llow y ou to c ap tu re th e a ctio n a nd g eta p rope r exposure i n t he low- lig ht env ir onment . Th is in ta rn a llows youto co nce ntr ate mor e o n th e c ompo sitio n a nd tim in g.

C on cert pho to gra phy n eed s "fa st glass" lenses with a maxi-m um ape rture of 1 /2 .8 or w id er. T his allow s the m ost ligh t to trav elthrough the lens and reach the sensor. T he m ost commonly usedlens es in m y concert pho tog ra phy are th e 70--2 00mm f/2.8 an d the2 4-7 0mm f/2 .8 . T h es e o ffe r a max im um ape rte re o f 1 /2 .8 th ro ug h th ee ntire rang e of fo cal leng th s an d a llow m e to cover a hug e ran ge offocal le ngths from 2 4mm to 200mm w ith just tw o lens es. F or thoses hows th at ta ke p la ce in clu b s a nd b ar s, I a ls o h av e a few p rim e le ns esthat can open up all the way to 1/1.4. T hese are lifesavers whenit's re ally d ar k. M y fa vo rite is tJ le 8 5mm 1 /1 .4 th at I p u rc ha se d man yy ea rs a go when I fir st s ta rte d s ho otin g c on ce rts s erio us ly . T h is b rin gsu p a n im portant p oint a bout lens es: if you take ca re o f y our g la ss, itc an l as t a l if et ime.

T he m ost im portant cam era feature for concert and low-l ights hooting is th e ab ility to sh oot at a h ig h ISO "nth lo w d ig ital noise . T om im ic t he ISO rat ings o f h im , c amera manuf ac b .lr er s amp li fy t he s ig na lf rom the camera' s senso r, whic h makes it seem more sensi ti ve t o li gh t.Th is amp lif ic at ion c reat es d i git al noise that shows up as random spo tsof co lo r in your im ages, espe cially in the d ark areas . T he g ood new sis tha t the h igh ISO, low-no isecapab i li ty o f cameras has improved vas tl yi n the la st f ew yea rs .

I set up my cam era the sam e way every tim e. T his m akes ite as y to a dju st w hen s ho otin g b e ca us e the s ta rt in g poin t i s a lwaysthe s am e. Y ou'll w ant to d o th is b efo re y ou pack you r came ras in toyour b ag , b ecau se you nev er know how m uch tim e Y O l f i l have a t thev en ue to g et r ea d y. M y in itia l s ettin gs a re :

J u s t as I set up m y cam eras tJle sam e way each tim e, I p ackmy cam era b ag the sam e way, as well. T his allows m e to hnd any-~ In g I ne ed In the d ark w ithou t w asting tim e. T he extra b atterie s gonto a front pocket. so d o the extra m em ory card s. I a lso m ake sureth~ t the earplugs an d the extra ea rp lug s are access ib le an d that therrlln! f lash ligh t is work ing.

T h e first part of getting a great concert image is nailingd own the exposure. It's no good getting that rock-and -rollm omen t a nd fJOd in go ut th at th e who le im ag e was u nd er ex po se do r e ve n wor se , u nd er ex po se d a nd b lu rry .

T he basics are simple: use a shutter speed fast enough tofreez e the action , an ape rture tha t lets in en ough lig ht to sup portthat shutter speed , and an ISO high enough that allows you to usea s hutte r sp eed fast e noug h to free ze the action.

T he b iggest prob lem that m ost people have when starting outis b lurry images b ecause their gear just can't hand le the lowlight. M usicians m ove around ; som e of them m ove around a lot.T his means that you either have to wait for them to stop oruse a pretty fast shutter speed . Once you have the apertureset at its wid est 1/2.8 and the ISO at 1600, then you can start 049


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using shutter speed s b etween 1/100 and 1/200 ofa second . W hen the action ramps up, then the shutters pe ed n ee ds to g o a lo ng w ith it, m ea nin g th e ISO nee dsto increase or it's time for a prime lens or two.I need ed to really push the shutter speed to catchall the head -b anging action for this shot of R eginald"F ie ld y"' A rv iz u fr om Korn .

~ fiI !I '. '.U il 'I .1t41 IM C4I t ' s v ita l to u nd ers tan d a nd b e a ble to op er ate y ou rcamera without having to look at the d ials, knob s,and b uttons. W hen hold ing my camera to my eyeI know that the rear d ial controls the shutter s peedand the front d ial controls the aperture. SinceI d on't change the aperture m uch, m y right thum bd oe s mos t o f tile w ork. If I r o ta te th e d ia l le ft. I r e du cethe shu tter speed ; rotate i t r ight , I inc rease the shu tters pe ed . M y rig ht th um b a ls o co ntro ls th e fo cu s p oin tI use. I also know exactly w here the ISO b u tton ison m y cam era and can ad just that w ithout takingthe camera away from my face. T his allows meto m ake ad justm ents really fast while at the sam et ime concent ra ting on th e compos it ion ins tead o f t il ecamera contro ls.

I~i4I'ld!llifii t 00 all my co

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