January 2016 Photoshop Magazine

T H E A D O B E P H O T O S H O P
Digital cameras need a

little help when it comes to
neutralizing the color of light
H O W -T 0 M A G A Z I N E
PHOTOGRAPHY
SECRETS
january
See page 14 for a message

from Scott Kelby on our move
to an all-digital magazine
2016
GOING
DIGITAL
IN-DEPTH
ST E P - BY- ST E P
TUTO R I A LS
P H OTOS H O P
DOWN AND
DIRTY TRICKS
NE WS, REVIE WS
A N D OTH E R
COOL STUFF
wysiwyg printing
getting your prints to

match whats onscreen
The Official Publication of
Visit our website at kelbyone.com
TABLE OF CONTENTS
JANUARY 2016
FEATURE
Layout: Jessica Maldonado, Images: Adobe Stock
54
The Challenge of
WYSIWYG Printing
WYSIWYG stands for What you see is what you get, which is the
goal for most photographers and designers whether theyre sending
their images and designs to an inkjet printer, a photo lab, or an
offset press. In other words, all the beautiful colors they saw on
their displays after all those hours of hard work should be the same
colors they see in the final printed pieces. Lesa Snider tells us how
to achieve this lofty goal. From calibrating your monitor to paper
profiles, youll learn how to enter the wonderful realm of WYSIWIG.
Lightroom Magazine

LIGHTROOM WORKSHOP
Setting the White Balance
UNDER THE LOUPE
Consistency Is Key
71 92
76
MAXIMUM WORKFLOW
82
LIGHTROOM Q&A
88
LIGHTROOM TIPS & TRICKS
ColorChecker Passport Photo
Lesa Snider
From the Editor
Contributing Writers
About Photoshop User Magazine
KelbyOne Community
Exposed: Industry News
6 52
Columns
PHOTOSHOP TIPS
12 64

PHOTOGRAPHY SECRETS
Colorful Lies
14
19 102
FROM THE HELP DESK
22 44
BEGINNERS WORKSHOP
94

95

90 96
PHOTO
SECRETS
10
64
Reviews
Sony aR7 II
Intel Solid-State Drive 730 Series

Canon PowerShot G9 X
DxO One
Adobe Photoshop Fix
Powergorilla and Solargorilla

Atomos Ninja Assassin
Photoshop Book Reviews
Colorful Lies
When it comes to making photographs, the human brain can tell
incredibly colorful lies. Kevin Ames explains how the human eye
and digital cameras perceive the color of light differently and how
we need to use white balance and color targets to avoid color casts.
Kevin Ames
Shalana Roberts
Antonio Martez
Departments
Tina Zito
93
KELBYONE.COM
How-To
DOWN & DIRTY TRICKS
London on the Grid
How to Add Motion to Skies
But WaitTheres More

The Hot Tips Issue Cover Art
Spider Hole
30 48
PHOTOSHOP PROVING GROUND
Curves Adjustment Layer
38
KEY CONCEPTS
These icons at the beginning of columns indicate theres a short video on a tool
or function used in that tutorial at the Key Concepts KelbyOne member webpage
at http://kelbyone.com/keyconcepts.
Dodge & Burn tools
Lasso tool
Layer masks
Pen tool
Smart objects
Quick Selection tool
DOWNLOADABLE CONTENT
Whenever you see this symbol at the end of an article, it means

there are either downloadable practice files or additional content
for KelbyOne members at http://kelbyone.com/magazine.
All lighting diagrams courtesy of Sylights
Click this symbol in the magazine to return to the Table of Contents.
A FEW WORDS FROM
SCOTT KELBY
From the Editor
p h ot o s h o p u s e r j a n u a r y 2 0 1 6
looking forward to
an amazing new year
006
The year 2016 is already here (by the way, I thought wed all be flying around with jet packs by now), and I want to kick
off the year by sharing our vision for KelbyOne, and how were going to deliver our most helpful and meaningful education yet (before we get too deep into this, make sure you read my announcement about our transition to an all-digital
magazinethats on page 14).
One of my main jobs as Publisher of the magazine, and as President of KelbyOne, is to help chart the course of this
huge educational community. I think the core of that is making sure that were staying on top of current trendsnot
just in our industry, but in education in generaland making sure that we continue to lead and grow the Photoshop
community. As an educator, thats my jobto make sure were delivering the type of training our members have told us
theyre looking forand thats one of the reasons weve come to you a number of times this year, asking for your input
via polls and surveys. Some of them have been short, one-question surveys and some of them have been more in-depth
(with a lot of questions across a broad range of topics), and so many of you have been gracious enough to take part.
I cannot tell you how much hearing from you has helped.
We focused on two big things this past year. The first thing was turning out a ton of top-drawer training. We really
cranked out a lot of amazing classes in 2015some of the best, most useful classes weve ever producedand our
content team, led by RC Concepcion, has done a phenomenal job this year. Its also the Year of Mia McCormick, and
we couldnt be happier to see her emerge as such an important part of our content team. Thanks to everyone who
has written to tell us how awesome Mia is (believe me, we know). And second, we spent the entire year working on
launching our new Web experience. Based on your comments on the new site, it was worth the wait. As I mentioned
in the last issue, this launch is just version 1.0; version 1.1 will bring more new features, and will fully integrate the old
PhotoshopUser.com website into our new site so you can access everything in one place (finally!).
So, heres whats next: (1) building community. It was always a special part of what we do and who we are, so our next
focus is on community interaction and growth on the new site, which will include all-new updated member portfolios;
individual member profiles so we can better target the type of training you, personally, are interested in; and making it
easier than ever to get right to the training you want, faster than ever.
And, (2) creating the most relevant, important, concise, and inspirational training weve ever produced. In the first
half of the year, youre going to see a lot of fantastic new training, including the launch of Corey Barkers new online
Photoshop Down & Dirty Tricks course; but its a course that keeps growing as Corey releases a new Photoshop special
effect each week. On the photography side, well have an in-depth training class on every major new camera release, so
you can get up to speed fast. On the design side, were adding more design-centric classes on the Adobe applications
than we have in years. Lots of business and inspirational sessions will round out an aggressive educational schedule for
the first half of 2016.
Thanks so much for your support throughout 2015, and for your patience as we got all the building blocks in place
to deliver a 2016 that will be truly impactful, helpful, and fun.
See you next issue!
Scott Kelby
KelbyOne President & CEO
Editor & Publisher, Photoshop User
The official publication of KelbyOne

JANUARY 2016 Volume 19 Number 1 Printed in USA
EDITORIAL:
Scott Kelby, Editor-in-Chief

Chris Main, Managing Editor
Contributing Writers
Ajna Adams Kevin Ames Steve Baczewski Corey Barker

Peter Bauer Pete Collins RC Concepcion Michael Corsentino
Sen Duggan Sean McCormack Colin Smith Lesa Snider
Rob Sylvan Scott Valentine Erik Vlietinck
GRAPHICS:
Dave Damstra, Production Manager

Jessica Maldonado, Associate Art Director
Margie Rosenstein, Senior Graphic Designer
Angela Naymick, Graphic Designer
MARKETING:
Ajna Adams Kleber Stephenson
WEB:
Mike Keilty Brandon Nourse Mario Ocon Yojance Rabelo

Aaron Westgate
PUBLISHING:
Scott Kelby, Publisher

David Moser, Executive Publisher
Kalebra Kelby, Executive V.P.
Jean A. Kendra, Business Manager
ADVERTISING:
Kevin Agren, V.P., Sales 813-433-2370

Jeanne Jilleba, Advertising Coordinator 800-738-8513 ext. 152
Veronica (Ronni) ONeil, Director of Circulation/Distribution
800-738-8513 ext. 235
HOW TO CONTACT KELBYONE:
U.S. Mail: 118 Douglas Road East Oldsmar, FL 34677-2922

Voice: 813-433-5005 Fax: 813-433-5015
Customer Service: info@kelbymediagroup.com
Letters to the Editor: letters@photoshopuser.com
Letters to the Lightroom Editor: lightroom@photoshopuser.com
World Wide Web Including the Photoshop Help Desk,
Photo Gear Desk, and Advice Desk: http://members.photoshopuser.com
COLOPHON:
Photoshop User was produced using Adobe Photoshop CC 2015 and Adobe
InDesign CC 2015. Roboto was used for headlines and subheads. Frutiger LT Std
for text.
This seal indicates that all content provided herein is produced by KelbyOne, LLC
and follows the most stringent standards for educational resources. KelbyOne is
the premier source for instructional books, DVDs, online classes, and live seminars for
creative professionals.
| fuel for creativity
All contents COPYRIGHT 2016 KelbyOne, LLC. All rights reserved. Any use of the
contents of this publication without the written permission of the publisher is strictly
prohibited. Photoshop User is an independent journal, not affiliated in any way with
Adobe Systems, Inc. Adobe, the Adobe logo, Acrobat, Illustrator, InDesign, Lightroom,
and Photoshop are registered trademarks or trademarks of Adobe Systems, Inc. in
the United States and/or other countries. All other trademarks mentioned belong to
their respective owners. Some of the views expressed by contributors may not be the
representative views of the publisher. ISSN 1535-4687
PHOTOSHOPS MOST WANTED
Contributing
Writers
KEVIN AMES
creates photographs for clients such as Westin Hotels, AT&T, and Coca-Cola. He has
authored four books, including a Dummies book, and his photos have appeared in
Time, Newsweek, and The Wall Street Journal. Visit kevinamesphotography.com.
STEVE BACZEWSKI
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
PETER BAUER
is an Adobe Certified Expert that does computer graphics consulting for a select
group of corporate clients. His latest book is Photoshop CC for Dummies. He was
inducted into the Photoshop Hall of Fame in 2010.
PETE COLLINS
is an education and curriculum developer and website overseer for KelbyOne.
He is one of the Photoshop Guys and co-hosts Photoshop User TV. With a fine arts
background, Pete is well versed in photography, graphic design, and illustration.
RAFAEL RC CONCEPCION
is director of content and education for KelbyOne. An Adobe Certified Instructor in
Photoshop, Illustrator, and Lightroom, RC has 10+ years in the I.T. and ecommerce
industries. RC has held training seminars in the U.S., Europe, and Latin America.
MICHAEL CORSENTINO
is an award-winning wedding and portrait photographer, Photoshop and Lightroom
expert, author, columnist for Shutter Magazine and Resource Magazine, and speaker
and international workshop leader. Learn more at www.michaelcorsentino.com.
SEN DUGGAN
is the co-author of Photoshop Masking & Compositing, Real World Digital

Photography, and The Creative Digital Darkroom. He leads workshops on digital
photography, Photoshop, and Lightroom (SeanDuggan.com).
010
SEAN McCORMACK
is the author of Essential Development: 20 Great Techniques for Lightroom 5.
Based in Galway, Ireland, he shoots subjects from musicians, models, and
actors to landscapes and architecture. Learn more at http://lightroom-blog.com.
COLIN SMITH
is an award-winning digital artist, photographer, and lecturer who has authored
18 books and has created a series of training videos. Colin is also the founder of
the online resource PhotoshopCAFE.com and president of Software-Cinema.com.
LESA SNIDER
is the author of Photoshop CC: The Missing Manual, Photos for Mac and iOS:
The Missing Manual, several eBooks, and more than 40 video courses. She also
writes a weekly column for Macworld. For more info, visit PhotoLesa.com.
ROB SYLVAN
is the Lightroom Help Desk Specialist for KelbyOne, on staff at the Digital Photo
Workshops, and the author of Lightroom 5: Streamlining Your Digital Photography
Process. You can learn more at www.lightroomers.com.
SCOTT VALENTINE
is an Adobe Community Professional and Photoshop author. His latest book
is The Hidden Power of Adjustment Layers (Adobe Press). Keep up with him
at scoxel.com.
ERIK VLIETINCK
founded IT Enquirer in 1999 (http://it-enquirer.com). A J.D. by education, Erik
has been a freelance technology editor for more than 20 years. He has written
for Macworld, Computer Arts, Windows NT Magazine, and many others.
ABOUT PHOTOSHOP USER
Photoshop User
Magazine
Adobe Stock
Photoshop User magazine is the official publication of

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

photography training, news, and education. Founded in 1998 as the National
Association of Photoshop Professionals (NAPP), KelbyOne has evolved from
NAPP and KelbyTraining to create a singular hub for creative people to learn, grow,
and inspire. From photographers to graphic designers, beginners to professionals,
KelbyOne is open to everyone.
Theres no faster, easier, and more affordable way to get really good at Photoshop
and photography. You can join for only $19.99 per month or $199 U.S. for a full
year of training. To learn more, visit www.kelbyone.com.
Member Benefits
PHOTOSHOP USER MAGAZINE
Ten issues of the best Photoshop tutorial-based magazine in the industry.
012
MEMBERS-ONLY WEBSITE
MEMBER DISCOUNTS
Save anywhere from 24 times your membership cost by using our many
industry-related discounts.
TECH SUPPORT
Fast, friendly Photoshop, Lightroom, and photo gear help; equipment

advice; and more from certified experts.
MEMBER COMMUNITY
KelbyOne members range from beginners to pros and love to lend each
other a hand. Together, we have built the friendliest, most knowledgeable
Photoshop and photography community on the Web.
NEWS & REVIEWS
Unbiased coverage on the latest equipment, plug-ins, and programs

in the marketplace.
Our extensive website features time- and money-saving content.
ONLINE CLASSES & EDUCATION
Thousands of Photoshop and photography tutorials, full online classes,

and quick-tip videos.
WEEKLY E-NEWSLETTER
The KelbyOne Insider is your weekly connection to everything KelbyOne.

Its produced exclusively for members to keep you informed of everything
new in the industry and at KelbyOne headquarters.
FIND KELBYONE MEMBERSHIP DETAILS AT kelbyone.com or call 800-201-7323 MondayFriday, 9:00 a.m. to 5:30 p.m. EST.
KelbyOne Community

Inspiration, information, and member musings to fuel your creative think tank
BY SCOTT KELBY
A Message from our Editor and Publisher, Scott Kelby,

on our move to an all-digital magazine
Here at KelbyOne, we all knew that the day would come when the demand for the digital edition of Photoshop User
would surpass the print edition, but none of us thought it would happen so quickly. We started the digital edition a
few years ago for a number of reasons, sparked by the fact that our members were asking for a green edition of
the magazine.
One of the benefits of a digital edition was that we could finally have instant and pretty-much-guaranteed delivery
to our international members in more than 102 countries around the world. (In some countries, customs often delayed
the magazine by one or two months, and sometimes the magazine never made it to the member at allthey disappeared in transit.) So, this digital version was a way our members would always receive the magazine on time without
any delivery issues. Plus, there were other features we wanted to bring to our members that we could deliver only in
digital format, so there were educational and user experience benefits beyond just timely delivery and saving trees (both
of which were the main catalysts for creating the digital edition in the first place; all the other benefits are just icing on
the cake, but thats some pretty sweet icing).
The trend of more and more people choosing the digital version has picked up tremendous momentum, and today
ARTIST SPOTLIGHT SHALANA ROBERTS

WWW.FACEBOOK.COM/ROBERTSFIVEPHOTOGRAPHY
nearly 80% of new KelbyOne members choose to receive only the digital edition, and that number continues to grow.
Thats why in 2016 were transitioning to an all-digital version of Photoshop User magazine, and laying the print edition
to rest.
One of the things were excited about bringing to the all-digital magazine this coming year is embedded videos: quick
video tips or tutorials that appear right within your issue of Photoshop User. We think the ability to integrate video with
the written tutorials is a big plus. Other benefits of the digital version are that you can zoom in to see images at larger
magnifications, as well as more easily read text; highlight features; share articles; and so much more. Were just beginning to unlock the power of what an all-digital subscription can bring to our members.
So, while one part of me is kinda melancholy to see the print version go away, the other side of me is excited for what
the all-digital world brings. I know its the end of an era, especially for those who have been with us since the NAPP
days, but many of you have already switched to the digital version, and were glad youre moving with the trends that
were seeing industry wide and within our own walls. We also know that by far the #1 reason that people join KelbyOne
is for our growing library of world-class online training. We have an incredible lineup of new classes and new instructors,
014
as well as a totally new Web experience for our members that will help you stay in touch, stay engaged, and keep you
learning, laughing, and loving the education and inspiration designed to help you unlock your creativity to make the
kind of images you know are inside you. Its our job to help you bring those images out, and 2016 will be an incredible
opportunity to do this together.
I want to thank our members for their boundless patience, their suggestions, their attaboys when we did something
right, and for being straight with us when we did something wrong. It has guided us to a place weve wanted to be
for a long time in delivering the kind of member experience wed want for ourselves. We have you to thank for your
unwavering support that helped us to bring KelbyOne 2.0 to life and into your lives.
ARTIST SPOTLIGHT JOEL LAUTERBACH

MEMBER SINCE 2013 | HTTP://JUSTCATCHINGLIGHT.SHOOTPROOF.COM
Who's Who
in the kelbyone community
BY AJNA ADAMS
A KelbyOne member for more than four years, Gilmar M.
the most intimidating, humongous camera Ive ever seen, but
Smith was born and raised in Venezuela, but currently lives
I was determined to learn how to use it. So, I did a search
and works in Orlando, Florida. Obsessed with all things pho-
online and found KelbyOne (at that time Kelby Training) and
tography, she is up to any creative challenge. She describes
got a membership. I watched a video on how to use a Canon
herself as a risk taker, cupcake lover, and social media junkie.
5D Mark II, and right away started playing with my camera. By

the second day, I was sleeping less and I was glued to my com-
ARTIST SPOTLIGHT TINA ZITO PHOTOGRAPHY

WWW.ONAMUSICALNOTE.COM
ARTIST SPOTLIGHT CESAR ANDRES MENDEZ GARCIA

MEMBER SINCE 2014 | HTTPS://CESAR-MENDEZ.SQUARESPACE.COM
How does KelbyOne make a difference in your work?
puter screen, watching tutorial after tutorial. I was hooked!
In the creative world, there is always room for improvement.
Then I received this email from Kelby Training saying Scott
Its very competitive out there. My mind is always running
Kelby was gonna stop in the Orlando Convention Center in
with new ideas, but sometimes I get stuck trying to do some-
two weeks on his Light It, Shoot It, Retouch It tour. I got my
thing in Photoshop. I know then that I can find a tutorial
ticket immediately. At the end of the presentation, Scott men-
about it through KelbyOne. There is so much great content.
tioned he had this Elinchrom lighting kit put together and on
When I think I know it allBam!one of the Photoshop
sale on B&H. I went ahead and bought the whole thing, got
Guys shows a trick that could have saved me lots of time in
home, cleaned the garage, painted it, and transformed it into
my workflow.
a studio. I could say KelbyOne created this monster!
When and how did you first become involved
Do you have any pieces of inspiration for our fellow
with KelbyOne?
community members?
Well, thats a funny one! I believe it was at the end of 2011.
Take a close look at what moves you, what makes you feel
I got a camera. I didnt have any idea how to use it. It was
something, then try to turn that feeling into an image. It
doesnt necessarily have to be a portrait. You can set the
to see the image coming to life. We werent done until
mood to an image using color, adjusting the tones, using
my son was happy with all the elements in the picture
moody light, etc. Use photography as therapy!
and everything was placed where he thought it should
Exp sed: Industry News

be. Thats, to me, one of the most magical things about

What keeps you inspired day to day?
doing this kind of portrait. Having him involved so much,
My kids are my biggest source of inspiration. My boy has this
the image represents who he is and what hes into in this
brilliant mind. He sees the world from a completely differ-
stage of his life.
The latest news about photography gear, software, and services

BY COREY BARKER, PETE COLLINS & RC CONCEPCION
A Look at Whats New in

Photoshop CC 2015.1
ent perspective and I love to get in there and let him show
me what his world is like. Emotion is another great source
A theme song plays everywhere you goname it!
of inspiration. Whatever it ishappiness, joy, anger, frustra-
I have been obsessed with Adeles new record, 25. There is
tion, sadness, deception, fear, love, passion, etc.I always
this song that hits me deep in the core; it completely takes my
Photoshop was no exception. Most of the Photoshop updates are enhancements to existing features that make your workflow much
think of emotions as a portrait. Well, I think Im so obsessed
breath away and makes me ugly cry. Its called Million Years
more streamlined. For one thing, the overall interface has a smoother, more simplified, and more consistent look, and it even has some
with photography that I turn everything into a portrait in my
Ago. Adele, you owe me big money on mascara!
advanced touch and gesture features, if youre using a touch system like a Microsoft Surface. Another big enhancement is the ability to
So back in late November, Adobe released a major update to the Creative Cloud. Many apps got some heavy updates and, as usual,
head. Music is great inspiration, too, and if you mix it with

exercise, its even better. I come up with great ideas while
What would be a surprising fact that people may not
listening to music during my daily workout, and I write them
know about you?
down with sweat! LOL!
Im the most awkward person when Im nervous, especially
customize the main Toolbar and save multiple Toolbar configurations as part of different saved workspaces. You can now reduce clutter
by hiding the tools you dont usevery handy.
For you 3D lovers out there, Adobe rolled out a new app called Fuse CC in this update, which is a 3D character modeler that works
in conjunction with Photoshop (see Adobe Releases a New AppAdobe Fuse CC on the next page).
in big crowds with new people. Its like I get verbal diarrhea
This image is so intriguing. Tell us about your
Finding fonts is a lot less of a hassle, as you can now mark fonts as favorites for quick access. You can also narrow your font search
or something, so I try to stay in my quiet, safe shell some-
creative approach.
further with new filtering options that allow you to show similarly selected fonts, your favorites, Typekit fonts, and even filter by classes
times. (This answer right here pretty much defines how awk-
such as serif, sans serif, handwritten, etc.
I absolutely love creating with my kids. I wanted to create
ward I get. I cant believe I just wrote that!)
The Libraries panel is becoming more robust with each version. Not only can you manage all your Cloud-based assets in this one
a portal to my sons imagination, to his little world. So,
panel, you can also do better searches across all libraries and even search through Adobe Stock. You can create full-asset libraries now
I approached him with the idea of taking a picture of him,
And, finally, if you had one superpower, what would
having all of his favorite things coming out of a book, and
it be?
that got him really interested. I made a little sketch to
Oh! Thats a good one! I would like to have the ability to
show him what I had in mind and for him to have an idea
make every child in the world feel loved and happy.
manage multiple artboards. Also, with better guides and layer support, you can manage multiple projects much easier.
part came after, when we sat together for a while plan-
If youre intrigued by Gilmars work, you can see much more
You can now apply Dehaze by using the Adjustment brush, Radial Filter, or Graduated Filter, allowing you to isolate the adjustment to
ning what images to add to the composite, and we started
at www.gilmarphotography.com.
a specific area of the image.
based on individual files. And, you can pull images, styles, swatches, etc., from a working file and include them in your libraries to use in
other Adobe apps or to share with other collaborators.
The artboards, which were a huge update in the last version, have now gotten even better with more accessible features to add and
of what he was supposed to do in the picture. The fun
The Dehaze feature was introduced in Adobe Camera Raw in the last update, but the drawback was that it was a global adjustment.
These are just a few of the major updates, in addition to better Export features, better options when working with SVG files, a new
way to manage and search glyphs, and not to mention a lot of JDI (just do it) fixes that will help with overall performance and workflow.
Oh, and they brought back that cool Oil Paint filter, as well. All in all a good update with some real enhancements that serious users will
018
k e l b yo n e . c o m
Gilmar Smith
find extremely helpful.
019
e x p o s e d: i n d u st ry n e w s
Adobe Releases a New App

Adobe Fuse CC
e x p o s e d: i n d u st ry n e w s
Whats New in
Illustrator CC 2015.2
In addition to all the updates and enhancements in Photoshop, Adobe has also
The new updates in Illustrator are great for speeding up your workflow and allowing you to work more efficiently and precisely.
released a new 3D application called Fuse CC that you can use with Photoshop
A good sign that an update is helpful is when you find yourself saying, I didnt know I needed this feature, but now that its here,
to build and animate fully realized 3D characters! This user-friendly interface
how did I get along with out it?
allows you to create full body 3D characters with minimal training. Originally
One of the great new features in Illustrator is the Shaper tool. Without having to switch from tool to tool, you can now draw out
designed to build video game characters, you can build a fully customizable 3D
crisp shapes and then combine, subtract, and merge them easily. What makes this even better is that when you merge or cut out
person in a matter of minutes, import them into Photoshop via your Creative
shapes, Illustrator retains the base shapes information in case you change you mind or want to edit any of the parts of the shapes
Cloud libraries, and then light and position them using Photoshop 3D tools.
after the fact. Its as if the Pen tool, Shape tool, and Pathfinder merged together to make a new super tool.
Fuse is a stand-alone application that youll need to download from the
Another bonus in this update is that drawing and aligning shapes is even easier with Hinting and Smart Guides. These dot-
Cloud. Once you launch it, you can immediately get started building a new
ted lines, points, and data appear automatically to help show you important information, such as the center point of a line for
character. You start with the head, then the workflow guides you through the
rotating it, and the precise spacing between objects. At first blush, you might not see how much they help, but give it some
process of adding all the body parts from a large library, and then you can cus-
time and youll be a believer.
tomize your model by adding clothes and other accessories. You can go even
There are also improvements to Creative Cloud Libraries, faster GPU processing, enhanced mobile integration, and touch capabili-
body shape and age.

Once you have the model created, click the Save to CC Libraries button in
the top-right corner, name it, and choose a folder to save it in your CC library.
Oh, and you, of course, need to be logged into your Cloud account to do this.
Next, its just a matter of going into Photoshop and pulling the model from
ties that make a great program even better.

Illustration: Corey Barker
further by modifying the characters facial expression and other attributes, like
your Library into your Photoshop document. You can then apply preset algorithms that will pose or animate your character. You
can also use Photoshops 3D lights and cameras to add dramatic lighting and camera angles to your subject, as part of an overall
composite or short animation.
This addition to the 3D workflow is another giant leap forward and sets up numerous possibilities to explore. Be sure to check out
Corey Barkers new course on www.KelbyOne.com on using Fuse and Photoshop together and learn more about the other new
Photoshop features from our Photoshop CC 2015.1 Learning Center at http://kelbyone.com/cc2015.
Whats New in
Lightroom CC 2015.3
Lightroom has been the gold standard for photographers when working on and managing their ever-growing library of images.
This latest release gave users a couple of features that were great for the desktop version, but really unlocked the power of using
Lightroom anywhere, including tablets, computers, or on the Web.
Lets cover the desktop version first: Back in June, Adobe added Dehaze as an effect to bring out details in hazy pictures. They
have now taken this effect further by allowing you to paint Dehaze onto specific portions of an image using the Adjustment brush,
Radial Filter, and Graduated Filter. After a quick change in the import process, Lightroom also reverted back to the original Import
020
Just like the desktop version, the Lightroom app for iOS and Android devices also now has the option to Dehaze a picture by
using the Graduated Filter, Radial Filter, and Adjustment brush. Android users can get precise control by manipulating color, tone,
and vignettes; iPad and iPhone users have the option to better find their images by sorting photos and videos by date.
As awesome as all these additions are, there are two features that really stand out to us. First is the iPhone and iPad in-app cam-
Whats New in
InDesign CC 2015.2
era, which is amazing! You can do things like select white balance settings, manipulate exposure compensation, and set timers.
A great new feature in InDesign is the improved touch capabilities, which means you can do amazing layout work on a tablet or touch-
It even gives you useful overlays for taking a shot. These little adjustments really make a difference in creating great shots.
screen device. Combine that with the more robust Creative Cloud Libraries, and you can work wherever you want on more devices,
The second thing were most excited about with this new release is Adobes commitment to having Lightroom available to
and it will convert your shaky finger motions into crisp clean shapes, text frames, and even populate with placeholder text. Once youve
you, no matter where you want to access it. While Lightroom now has great options for mobile and the desktop, theyve taken
created your document, you can publish it online, and still have the ability to make changes to the original that will populate back onto
it to a completely new level by bringing this kind of editing right to a Web browser! Go to http://lightroom.adobe.com and
the Webso, you have on-the-fly editing for a faster exchange of information and updates.
sign in with your Adobe ID. If you have set your collections to sync with your mobile device, youll notice that the collections are
There have also been improvements in working with glyphs and great integration with Adobe Capture CC to create and use elements
also available in the Web browser. You can even perform edits on the images in these collections! These kinds of changes take
from your mobile devices. Working in InDesign is now easier than ever and open to more avenues of input, as our working environment
a program that was already great to a completely new level.
becomes more and more mobile.
window for importing images, illustrating Adobes commitment in keeping an open dialog with photographers in this space.
021
HOW TO
DOWN AND DIRTY TRICKS
Step One: Start by creating a new blank document (File>New)

thats 1350x2000 pixels at 100 ppi with the Background Contents set to white. This will be the base document in which well
build the design.
Step Two: Go under

the View menu and
choose New Guide
Layout. When the dialog appears, set the
Step One
Number of Columns to
4. Click on the checkbox for Rows and set
the Number to 6. Set
the Gutter for both Columns and Rows to 25 px. Check on Margin
and set all sides to 25 px, as well. Finally, check on both Center
Columns and Clear Existing Guides, and click OK. This creates a grid
in your document using guides.
Step Three: Select the Rectangle tool (U) in the Toolbox. In the
Options Bar, make sure the Pick
Tool Mode drop-down menu on
the left is set to Shape, and then
set the Fill color to a neutral gray
color or any color other than white so it doesnt blend with the
background. Before we start making the squares for the grid, go
under the View menu and make sure that Snap is checked on so
the shapes will snap to the guides when they get close.
london on the grid

BY COREY BARKER
Heres a cool design layout technique I saw a couple of years ago. Its
a really simple way to get creative with text and grids. This is made
much easier with the new Grid Layout feature in Photoshop CC. Once
Step Four: Starting in the upper-left corner of the first square,

click-and-drag out a box to the guide edges to create the square.
You dont have to hold down the Shift key with the Snap feature
Down
&Dirty
Tricks
Step Two
turned on.
you have mastered the technique, be sure to experiment with other

images and text arrangements.
Step Four
023
Step Five: With this new shape still selected, press Option-Com-
Step Nine: With the Path
mand-T (PC: Alt-Ctrl-T) to copy the shape and enter Free Trans-
Selection tool, click on a
form. Click-and-drag the duplicate shape to the second square
white area in the docu-
to the right, minding the gutter until it snaps in place. Press Enter.
ment so that none of the
The duplicate shape should still be on the same layer in the Lay-
shapes are selected, and
ers panel. If its not, then that means your shape wasnt selected
then make a duplicate of
when you initiated the step and repeat.
the shape layer by pressing Command-J (PC: Ctrl-J).

Step Five
Double-click the duplicates

layer thumbnail in the Layers panel to open the Color
Picker. Here, weve picked
Step Six: Hold down Shift-Option-Command (PC: Shift-Alt-Ctrl)
a deep-red color. You can
and press T twice to create two more duplicates and to repeat
use these settings or try a
the transformation. This will fill in the two remaining squares in
different color altogether.
the top row.
Click OK when done. Youll

notice that it changed all the squares to red.
Step Six
Step Nine
Step Seven: Press A to switch to the Path Selection tool (the

black arrow directly below the Type tool in the Toolbox), hold
the Shift key, and click on the shapes to select all four squares.
Then, once again, press Option-Command-T (PC: Alt-Ctrl-T) to
duplicate the shapes and enter Free Transform. Click-and-drag
the four duplicates straight down to the next row. You can add
the Shift key as you drag to constrain the movement. Once it
snaps into the next row, press Enter.
Step Seven
Step Ten: Select the Type tool (T) in the Toolbox. Move the cursor inside the second square on the top row. You should see
Step Eight: Now repeat Step Six except press T four times instead
the Type cursor with a dotted circle around it; this indicates that
of twice. This will complete the entire grid of shapes. (Once again,
youll be putting text inside a shape. Click once to set a text layer
all the shapes should still be in the same layer.)
based on the shape.
Step Ten
024
Step Eleven: In the Options Bar, set the justification to Center Text. We chose a font called Factoria Bold (this is available
through Adobe Typekit; you can see a video on how to load
225 pt and set the color to white.
Step Eight
Typekit fonts over at www.kelbyone.com). Set the type size to
025
Step Twelve: Now just type the letter L in the box. The letter
Step Sixteen: Open the image that you want to use for the
needs to be centered in the box, so instead of messing with a
background. Here, we have a foggy day image of Big Ben; how-
bunch of settings, just use the Path Selection tool to click-and-
ever, we dont want it to be in color, so well do a quick black-
drag the text box down a little until the bottom edge of the text
and-white conversion. Press D on your keyboard to set your
box snaps to the top edge of the red square below. This essen-
Foreground color to black and your Background color to white,
tially centers the letter in the box.
and then go to the Image menu, to Adjustments, and choose

Gradient Map. It should automatically be using the Foreground
to Background gradient; but if not, just click on the gradient bar,
choose the very first preset in the Gradient Editor, and click OK.
Step Twelve
Click OK in the Gradient Map dialog.
Adobe Stock/Bikeworldtravel
Step Thirteen: Switch to the Move tool (V), hold down the
[KelbyOne members may download the file used in this
Option (PC: Alt) key, then click-and-drag a duplicate of this text
tutorial at http://kelbyone.com/magazine/issue/january_2016.
box to the red square on the right, again making sure the box
All files are for personal use only.]
edges snap into place. Use the Type tool to highlight the text and
change the letter to O.
Step Sixteen
Step Seventeen
Step Seventeen: Using the Move tool (V), click-and-drag this

image into the main design layout, and position the layer in
between the two grid shape layers in the Layers panel. Press
Option-Command-G (PC: Alt-Ctrl-G) to clip the image inside the
gray squares below.
Step Fourteen: Repeat the previous step for the last box in the
Step Eighteen: Once the image is clipped, press Command-T
top row and enter the letter N. Continue this process, adding the
(PC: Ctrl-T) to activate Free Transform. Scale and rotate the
remaining letters for LONDON ENGLAND and position them as

you see here.
Step Fourteen
image to fit better in the visible squares. Hold the Shift key
when scaling to maintain proportions. When done, press Enter
to commit the change. (Note: If youre using the low-res practice file, youll have to scale it up quite a bit, which means it
will look pixelated.)
Step Fifteen: Click the red squares layer in the Layers panel to
Step Nineteen: To boost the contrast a little, press Shift-Delete
make it active. Using the Path Selection tool, hold the Shift key
(PC: Shift-Backspace) to open the Fill dialog. Set the Contents
and select all the red squares that do not have a letter in them.
drop-down menu to Black, the Blending Mode to Overlay, the
When done, press Delete (PC: Backspace), and click Yes in the
Opacity to 90%, and click OK. This will force the darker gray
areas to black, thus boosting the overall contrast.
nal layer after the red ones are deleted.
resulting dialog. You should see the gray squares from the origi-
026
Step Eighteen
Step Twenty: Finally, just press Command-; (PC: Ctrl-;) to turn

Step Fifteen
off the guides and see the finished design.
Step Twenty
027
HOW TO
Step One: If youre a KelbyOne

member, download and open
the start file for this exercise.
You can use your own file if
you like, but if youre new
to 3D in Photoshop, I highly
recommend using the provided exercise file because it
has the paths already in it. Once you open the file, go to
the Paths panel (Window>Paths), and youll see the path
for the number 100.
[KelbyOne members may download the file used in this
Step Two: Click the Create a New Layer icon at the bottom
of the Layers panel. The new layer will appear above the blue
Background layer. Click on the
Foreground color swatch near
the bottom of the Toolbox to
open the Color Picker and set
the RGB numbers to whats
shown here to get a goldyellow color. Click OK. Now
fill the blank layer with this
new color by pressing OptionDelete (PC: Alt-Backspace).
Step Two
Step Three: Make sure the yellow-filled layer is active in the

Layers panel and the path layer is active in the Paths panel,
then go under the 3D menu, and choose New 3D Extrusion
from Selected Path. This will extrude the text applying the
yellow fill to the front face.
the hot tips issue cover art

BY COREY BARKER
The October 2015 issue of Photoshop User was our annual 100 Photoshop
Hot Tips issue, and I created the comic-book inspired 3D text for the cover
entirely in Photoshop. Here, well go step by step through the process and
youll see how you can create fully realized, custom 3D text without ever leaving Photoshop.
Step Four: The first thing

youll notice is that the text
has a shadow on the invisible ground plane. This is
by default, but we dont
need it in this case, so open
the 3D panel (Window>3D)
and the Properties panel
(Window>Properties). Youll
need both of these panels to
edit 3D. Select Environment
in the 3D panel, and then in
the Properties panel, locate
the Ground Plane Shadows
settings and change the
default Opacity setting of
60% to 0%.
Step Three
Down
&Dirty
Tricks
Step One
Step Four
031
Step Five: Back in the 3D panel, select Layer 1, then go to

the Properties panel and set the Extrusion Depth to 100 px.
Step Ten: With the Layer 1

Front Bevel Material still
selected in the 3D panel, go
to the Properties panel and
set the Shine and Reflection
settings to 50%. Youll see
some reflected elements in
the text. Well get to these in
a just a bit. Select the Layer 1
Front Inflation Material in the
3D panel and set the Shine
and Reflection for this mesh to
50% as well. (Note: The reflections in your text may appear in slightly different locations than
shown here. Well take care of that in a later step.)
Step Six: Click on the third tab at the top of the Properties
panel to access the Cap settings. In the Bevel section, set the
Width to 30%. Then, click on the Contour preview thumbnail to open the Contour Editor. In the Preset drop-down
menu, choose Cone. Click on the middle control point at the
top of the curve and drag it down to the center mark, or just
set the Input and Output values to 50%. This will produce a
nice curved bevel along the edge of the numbers. Click OK
when done.
Step Five
032
Step Eleven
Step Eight
Step Twelve: In the wireframe document, create a new blank

layer and select the Gradient tool (G) in the Toolbox. Press D
to set the default colors and then click on the preview
thumbnail in the Options Bar to access the gradient presets
in the Gradient Editor. Click on the very first preset, which is
the Foreground to Background gradient, and click OK. Select
the Linear Gradient icon in the Options Bar.
Step Eight: We need to

change the color of this new
bevel because its the same
yellow as the front face. Back
in the 3D panel, select Layer 1 Front Bevel Material. At the
top of the Properties panel, click on the document icon to
the right of the Diffuse property, and choose New Texture
from the menu.
Step Nine: When the New dialog opens, set the Width and
Height to 500 pixels and click OK. If the new texture file
doesnt open automatically, just go back in the same Diffuse
menu and choose Edit Texture. Once its open, press D to set
the Foreground color to black, then press Option-Delete (PC:
Alt-Backspace) to fill the Background layer with black. Close
the document and save the changes. Now the bevel is black
and the front face of the numbers should still be yellow.
Step Eleven: With the Layer 1 Front Inflation Material still

active in the 3D panel, go to the Properties panel and choose
Edit Texture from the Diffuse menu. A new document will
open with the yellow background and a wireframe of the
numbers. This is just a visual aid to help with the placement
of objects on the 3D object. You can modify this wireframe
in the Properties panel in the UV Overlays section, which
allows you to change the Color and Opacity.
Step Nine
Step Thirteen: Start the gradient at the bottom of the

wireframe and drag it about
two thirds of the way up
toward the top of the numbers. The idea is to have the
main transition of the gradient within the lower area of
the numbers as shown here.
Step Seven: Back in the Cap

settings, go just below the
Bevel settings to the Inflate
properties, and set the Angle
to 90 and the Strength to
10%. This will bulge out the
front face of the text.
Step Ten
Step Thirteen
033
Step Fourteen: Now go under the Filter menu to Pixelate and

choose Color Halftone. When the dialog opens, set the Max
Radius to 7 pixels and then set all four channels to 0. Click OK.
Step Fourteen
Step Fifteen: We want this dot pattern to be red, so we

need to first make a selection. Open the Channels panel
(Window>Channels), hold down the Command (PC: Ctrl)
key, and click on the RGB channel thumbnail at the top. This
will load the white areas as a selection.
034
Step Seventeen: Now, go

back to the 3D panel and
select the Environment property again. Then, click on the
document icon to the right
of the IBL thumbnail near the
top of the Properties panel
and choose New Texture
from the menu. Again, set
it to 500x500 pixels in the
New dialog and click OK. If
the document doesnt open
automatically, then go back
into the IBL menu and choose Edit Texture.
Step Fifteen
Step Nineteen: While you still have the Environment property selected, switch to the Move tool (V), and youll see a
small sphere in the middle of the canvas. This represents the
sphere surrounding the 3D object that has the IBL wrapped
around it, which only lets light through the gradient we created. You can use the Orbit the 3D Camera tool in the 3D
Mode section of the Options Bar to drag the light around
on the object. Do this until you get the light shining on the
object in an interesting way. Finally, go back to the Properties panel and set the Intensity to 110%.
Step Eighteen
Step Nineteen
Step Twenty: Once you have the object textured and the
lighting set, go under the 3D menu and choose Split Extrusion. This will split the numbers into independent 3D objects,
allowing you to reposition each one separately. You can use
the 3D tools in the 3D Mode section of the Options Bar to
move the numbers closer to each other, and overlap them so
they reflect on each other. You can also move them forward
and backward using the axis widget.
Step Twenty
Step Twenty-One: When you have the numbers in position,

go under the 3D menu and choose Render. Youll start to
see the reflections and other elements take shape as it progresses through the render. If you see any problems, just
press Escape to cancel the render, make any tweaks you
want, and then render again.
Step Sixteen
After the numbers fully rendered, I created a couple of burst

elements using the same steps we just covered and then put all
the elements into the context of the magazine cover you saw at
the beginning of this tutorial. So as you can see, we can create
fully rendered, custom 3D text entirely in Photoshop.
Step Sixteen: Go under the

Select menu and choose
Inverse, or just press ShiftCommand-I (PC: Shift-Ctrl-I).
In the Layers panel, click the
Eye icon next to the original
halftone layer to turn it off.
Then, create a new blank
layer, click on the Foreground color swatch in the
Toolbox, choose a deep-red
color, and click OK to close
the Color Picker. Press Option-Delete (PC: Alt-Backspace)
to fill the active selection with this new color. Press Command-D (PC: Ctrl-D) to deselect. Finally, close the document and save the changes.
Step Eighteen: Start by setting the Background layer to black

by pressing Command-I (PC: Ctrl-I) to invert it. Create a new
blank layer and select the Elliptical Marquee tool (nested
under the Rectangular Marquee tool [M] in the Toolbox).
Draw an oval selection on the blank layer then switch to
the Gradient tool (G). Press D then X to set white as the
Foreground color. Then, go into the Options Bar, click on the
preview thumbnail, choose the second gradient preset (the
Foreground to Transparent gradient), and click OK.
Starting a little ways beyond the upper-left edge of the
selection, drag the gradient down and to the right about
halfway through the selection to add a little fade of white
inside the selection. When done, close the document and
save the changes. Youll now see a much more interesting
lighting effect in the numbers.
Step Twenty-One
035
HOW TO
Step One: Open the bullet hole image from Adobe Stock.
Adobe Stock/Sascha Burkard
Use the keyboard shortcut Command-J (PC: Ctrl-J) to make a

copy of the Background layer. The top layer will be the working layer and the bottom layer will be the resource layer for
the cracks.
[KelbyOne members may download the file used in this tutorial at http://kelbyone.com/magazine/issue/january_2016. All
files are for personal use only.]
Step One
Step Two: Since we want to create some longer cracks, resize

the top layer by pressing Command-T (PC: Ctrl-T) to bring up
Free Transform. Hold the Shift key, click-and-drag a corner
point to make the top cracks smaller, and drag it to the upper
center of the document. This will mean that the cracks on the
bottom layer will be a bit bigger when we select them and use
them with this layer. Press Enter to commit the transformation.
Step Two
Step Three: Hide the top layer by clicking on its Eye icon in
the Layers panel, and click on the Background layer to make
it active. Now well use the Lasso tool (L) to select different
parts of the original bullet hole. Look for nice long cracks and
any parts that have a bit of character. Once you locate a good
section, trace around it to make a selection, and then copy
just that selection to a new layer by pressing Command-J (PC:
Ctrl-J). Click back on the Background layer each time and
repeat for as many parts that you want to use.
spider hole
BY PETE COLLINS
In the James Bond poster for the new movie Spectre, two things
caught my eye: the spider image in the bullet hole and the special
treatment of the font. In this lesson, Im going to show you how to do
both effects so that you too can become a criminal mastermind, er,
I mean a movie poster guru.
Step Four: In the end, you should have a bunch of layers

with different cracks above the Background layer. Now youll
want to start arranging the cracks to look like the legs of a
spider. Show the top layer with the smaller bullet hole by
clicking where its Eye icon used to be, and drag it to just
above the Background layer in the Layers panel. Click the
Create a New Layer icon, drag this new layer to just above
the Background layer, press D to set the Foreground color to
black, and press Option-Delete (PC: Alt-Backspace) to fill it
with black to hide the Background layer (but keep that Background layer around if you need more cracks). Now all of the
cracks that you created should be above the smaller bullet
hole layer so you can see all of the parts.
Step Four
Down
&Dirty
Tricks
Step Three
039
Step Five: Each of the new crack layers will have both the
Step Seven: This is the perfect time to resize the document
crack and some of the black background around the edges

that you copied as part of the selection. To keep those black
areas from messing up the look of the cracks, change each
layers blend mode from Normal to Screen in the Layers
panel. Grab the Move tool (V), and on the left side of the
Options Bar, check on Auto-Select and set it to Layer instead
of Group to make it easier to grab and move each crack layer.
Now all that remains is to place the cracks so that they feel
like theyre part of the bullet hole, but give the impression of
the legs of a spider. Use Free Transform to rotate the cracks
as needed and move them into place. Also, make duplicates
as needed to complete the legs. One thing that will help the
copies look different is to resize them, flip them around, or
possibly mask out parts. To flip them, Right-click inside the
Free Transform bounding box and choose either Flip Horizontal or Flip Vertical.
to make it a poster ratio. With your Background color set to

black in the Toolbox, switch to the Crop tool (C), and drag
the bottom-center point of the crop boundary below the
edge of the document to expand it so it has more of a poster
shape. Hold the Option (PC: Alt) key and drag in one of the
side middle points to decrease the width of the document.
Press Enter to commit the crop.
Step Eight: For the title youll want a nice, bold thick font.
The original poster used Gotham Bold, but a good alternative
is Avenir, or try to find a similar one. The main thing is to use
a font thats bold and wide enough to handle the bevel and
embossing that well apply in the next step. So, switch to
the Type tool (T), make sure your Foreground color is set to
white, type the word SPIDER in all caps, and size it accordingly. (Tip: Heres a quick way to visually resize and position
your type: With the cursor inserted somewhere in your text,
hold the Command [PC: Ctrl] key and a bounding box will
appear around your type. Start dragging a corner point, and
then add the Shift key after you start dragging to maintain
the proportions. Click-and-drag inside the bounding box to
reposition the type.)
Step Seven
Step Five
Step Nine: The key to the whole look of this type is found in
the Bevel & Emboss settings in the Layer Style dialog. Doubleclick to the right of the SPIDER layers name in the Layers
panel to open the Layer Style dialog and click on Bevel &
Emboss in the list of Styles on the left-hand side. Set the Style
to Inner Bevel, the Technique to Chisel Hard, and the Direction to Up. This is the base setup for this effect; now its just a
matter of playing with the sliders to get the right look.
Step Six: The final touch is to create a new blank layer at

the top of the layer stack, press X to switch your Foreground
color to white, grab the Brush tool (B), and select a speckled
brush from the Brush panel (Window>Brush). There are several in your brush presets; try out different ones to see which
looks best. The goal is to paint little flecks of light coloring to
help sell the idea of the glass being fractured. That should
finish up the first part of the poster.
Step Ten: Depth will determine the severity of the beveling
Step Six
Step Eleven: In the Shading area, set the Angle to 89 (just

short of 90) so that you get shading on the right side of the
letters. Set the Altitude to 1. The only thing left is to increase
the Shadow Mode Opacity at the bottom of the dialog (the
Highlight Mode settings dont matter here). If you set it to
100% the shadow will be completely black, so try backing it
off just a bit to around 93%but thats up to you. Now click
OK, and you have a dramatic beveled and shadowed text.
and it works in conjunction with Size, so you may have to go

back and forth between the two to get the right settings for
the size of your type. The settings for this example are 200%
for Depth, 48 px for Size, and 0 px for Soften. (Use your Up
and Down arrow keys with any of these settings to increase
and decrease the size by 1, respectively.) Watch the preview
of the text to see how each attribute affects the look and
where the optimum setting should be for each option.
040
Step Eight
Step Eleven
041
Step Twelve: If you want to create an even more exact copy

of the original text from the poster, then you can use the
Polygonal Lasso tool (nested under the Lasso tool [L] in the
Toolbox) on a new layer to select the curved shadow areas
and fill them with white so their angles match the shadows at
the top and bottom of the letters. This will have to be redone
if you edit the text, so leave this as the final step.
Step Thirteen: The finishing touch is to add some movie

poster text at the bottom and youre all set. You can find different templates for this with a simple Google search. This is
where you can have fun and give your friends a role in your
fake movie.
Well, there you go. Hopefully, you have a better understanding of how the Bevel & Emboss settings work and maybe you
even discovered some new unique looks that you can use on
another project in the future.
042
Step Thirteen
Step Twelve
BEGINNERS' WORKSHOP
HOW TO
image, you may need to use an amount higher than 40.

(Note: You wont see what the actual blur looks like until
you click OK.) Next, set the Blur Method to Zoom and Quality to Best. Before closing the dialog, drag within the Blur
Center box to tell Photoshop where in the image the blur
should emanate from. Notice how the zoom lines inside the
box change as you drag within the box. Think of the box as
a miniature representation of your document. For example,
if you want all of the clouds to appear to move upward and
toward you, set the blur center (circled) at the bottom middle,
as shown here. Click OK to apply the blur.
LESA SNIDER
how to add motion to skies
A great way to add the illusion of motion to skies is to photograph them using a slow shutter speed. If the clouds
are moving, they appear beautifully blurred. That can be a time-consuming and challenging project, however.
Happily, you can easily simulate the effect using the Radial Blur filter in Photoshop, which is available in any version.
Adobe Stock/rasica
Beginners' Workshop
Step One: The first step is to prepare the image layer(s) for use
Adobe Stock/vvoe
with smart filters, which protects your original image and gives
you some nice editing flexibility. If the image isnt open, choose
File>Open as Smart Object and navigate to where the image
lives. If the image is open, and you have but one layer, choose
Filter>Convert for Smart Filters. If the image is made from multiple layerssay, you used an adjustment layer to correct the
image, as weve done hereShift or Command (PC: Ctrl) click
to activate the layers and then choose Filter>Convert for Smart
Filters. Either way, Photoshop sandwiches the layer(s) inside the
protective wrappings of a smart object, so the filter will happen
to the wrapper instead of whats inside. Feel free to doubleclick the layer name in order to enter something meaningful.
[KelbyOne members may download the files used in this
Step Three: To reopen the filter and experiment with a different blur Amount or Blur Center, double-click the filters
name in the Layers panel (circled). For a quick before-andafter comparison, click the visibility Eye to the left of the filters name to temporarily turn it off; clicking the same spot
turns the filter back on.
Step Three
Step One
a selection before you run the filter. Start by creating a smart

object as described in Step One and then use the selection
tool of your choice to select the area you want to blur. For
example, if the area you want to blur is rectangular in shape
(as in our example), press M to grab the Rectangular Marquee tool.
Tip: If you manage your images using Adobe Lightroom,

you can send an image from Lightroom to Photoshop as
a smart object by choosing Photo>Edit In>Open as Smart
Object in Photoshop.
Adobe Stock/rasica
Step Four: If you want to blur only part of the image, create
Step Four
044
(1) You can double-click the filters name in your Layers panel
to reopen its dialog and adjust its settings; (2) you automatically get a layer mask that lets you hide the effect from part of
the image; and (3) if you dont like the effect, you can delete
the filter by dragging it to the Trash icon at the bottom-right
of your Layers panel. If you need to access your original layers again, simply double-click the smart objects thumbnail
and they open in a new, temporary document. Make your
changes in that temporary document, choose File>Save (not
Save As), and when you close the temporary document, your
changes magically appear in the original document. Sweet!
Step Five: Mouse over to your image and then click-anddrag diagonally downward to draw a selection around the
sky. Leave a little space between the sky and the horizon so
the blur doesnt bleed onto the horizon.
p h ot o s h o p u s e r J a n u a r y 2 0 1 6
How are smart filters exciting? Let us count the ways:
Step Two: Choose Filter>Blur>Radial Blur. In the resulting

dialog, set the Amount between 10 and 40. The higher the
amount, the blurrier the clouds get. Start with 20 and see
how the image looks. If youre working with a really big
Step Two
Step Five
045
BEGINNERS' WORKSHOP
Step Six: Choose Filter>Blur>Radial Blur and in the resulting dialog, set the Amount to 15, Blur Method to Zoom,
and Quality to Best. To make the clouds appear to be moving slightly rightward in this photo, set the Blur Center on
the left side of the box. To keep the clouds somewhat level,
set the Blur Center higher inside the box. Click OK to apply
the blur.
Step Seven: When youre finished, choose File>Save As, and

in the resulting dialog, choose Photoshop as the format so
your layers remain intact. This lets you reopen the file later on
if you want to tweak the blur amount. To generate a version
in a different formatsay, JPEG or PNG for posting online
choose File>Export>Export As or File>Export>Quick Export as
PNG in Photoshop CC 2015, or in earlier versions of the app,
choose File>Export>Save for Web. Here are the before and
after versions.
Step Six
As you can see, blurring the sky introduced some interesting

movement. Until next time, may the creative force be with
you all!
Step Seven
046
Before
After
HOW TO
Photoshop Proving Ground

curves adjustment layer
SCOTT VALENTINE
048
A function is something that takes input, does something

to it, and gives an output. Its kind of a translation from one
number to another. In the case of Curves in Photoshop, the
input is the brightness
value of a pixel and is
represented by the bottom line of the graph.
The output is a new
brightness value, and
that is shown on the left
edge. When you first
apply a Curves adjustment, the default is a
straight line with black
in the lower left and
white in the upper right
(the identity line). As
you adjust the curve at
any point by clicking-and-dragging, youre telling Photoshop

to adjust all pixels with the brightness value at the level measured along the bottom to the new value measured along
the left.
So why is it a curve and not something like a discreet knob
or slider that controls only one brightness value? Mostly
because its not necessary. The point of using a Curves
adjustment is to vary the relationships between brightness
levels smoothly. If you were to change the brightness of
one single value, it wouldnt blend well with its neighbors
in most cases. Think of the difference between stairs with
varying heights versus a hilly but smooth trail. In an image,
stairs would look like hard, sharp, jagged edges, and
changing the height of some of them would just make
things worse. So the curve softens those small transitions
and spreads out changes across the entire image.
Of course, Im simplifying to explain the general concept. Masking, pixel-level corrections, and image sharpness
are all outside of this discussion. And theres a special feature of the Curves adjustment layer where you can use a
Pencil tool to draw extremely complex curves and target
very specific values. For now, just keep in mind that Curves
are meant to manage the relationship between brightness
values in your picture.
but theres still a somewhat smooth transition from black to

not quite black, and the same goes for the white areas.
If you want more precision, click along the line where you
want to adjust the brightness valuethat adds a new point
where you can change the width of the curve. (Geek Points:
This is sometimes referred to as the Q, or Quality factor, of
a curve.)
There are two cool
things to notice about
this little exercise. First,
you can add more points
not only to refine the
curve, but you can also
use those points to create multiple curves along
the line. Second, the
sharper the bend in the
curve, the more harsh
the transition is. Adding
more points gives you
more precise control,
but also opens you up to
taking a smooth gradient and introducing bands or edges.
Contrast
Lets use this description
to check out two amazingly useful curves: contrast and solarization.
The classic curve most
of us are exposed to
first is the standard S
shape used for contrast enhancement. In
this shape, it lowers the
darks and raises the
lights. When looking at
the graph, note that the
[For the Fotolia stock image used in this tutorial, go to

www.fotolia.com and use the discount code 353BN3GF.
For the image used here, search for 53249796. The discount
code is good for five free images within a 12-month period.
Wed like to thank Scott Valentine and Fotolia for arranging
this special offer for our readers.]
But remember the relationships! Everything between the
new black and white points has been squished. Ive added so
much contrast to this image that much of the detail is lost,
Fotolia/marinasvetlova
Curves gives you a way to manipulate a mathematical function by drawing a line. Before those of you who hate
math start screaming and covering your eyes, you wont have to do any math yourself; Photoshop will crunch
all the numbers!
curve dips below the identity line on the left, passes through
the middle, and goes above the line on the right.
Now if I drag the left
control point down to
where it touches the
bottom of the graph,
Im telling Photoshop
that everything to the
left of the Input value
(66) should be black
(the output reads 0).
Likewise, I can set everything greater than some
value to white (255). In
this case, I dragged the
right control point to
about 166 for the Input,
so everything that was
brighter than that is now white and without detail. Ive reset
the definitions for black and white points in the image
based on brightness.
049
Solarization
It turns out we can use this second feature in an unusual way.
Retouchers may already be familiar with this trick, and its
seriously handy for everyone to know.
Creating an extreme
curve with multiple peaks
gives you a kind of solarization effect that lets
you see some hidden elements in your image. For
photographers, this is a
great way to check out
the smoothness of gradients with low tonal variation, such as skin or some
skies, and it highlights
dirt and dust that might
otherwise be hidden.
Add a solarization curve to your images and toggle it on

and off a few times while looking at specific details. Youll
begin to see how areas of color and brightness vary and
relate to the curves changes.
Now how do you use this trick?
050
Effectively, this trick increases contrast to absurd levels but

also gives you a kind of visual echo that exaggerates the relationship between similar tones. Introducing this artifact temporarily is a great way to check your retouching for errors that
may otherwise be hidden on your screen, but visible when
printed or viewed on another device.
The image looks pretty good by itself, but after adding a
solarization curve, you can clearly see dust in the gradient. The
models skin looks very smooth, with even transitions everywhere. (Disclosure: Because this is a stock image, I had to add
in some dust during processing, but the technique works as
advertised and is great for finding sensor or lens dust.)
Well, add the solarization curve to the top of your layers

stack in Photoshop. For healing and stamping the dust
spots, ensure your tool is set to work on the target layer
(the one that needs correction) only; or if you heal to a blank
layer (great idea!), youll have to turn the solar layer on and
off while you work. For working on gradients, such as you
might do during frequency separation, you can leave the
layer on if youre using Blur or Smudge tools on the target
layer. This is especially helpful if you have to correct larger
skin blemishes or makeup smears.
Got questions about this technique? Ask on the KelbyOne
Facebook page (www.facebook.com/KelbyOneOnline) or
in the forums and tag #PSPG. And dont forget about
those relationships!
PHOTOSHOP TIPS
D E PA R T M E N T
boost your productivity and creativity
COLIN SMITH
Welcome to a new year! New slate, new start, and new

goals. Maybe your goal is to become an amazing machine
of efficiency in Photoshop? Thats an awesome New Years
resolution to have. Well, youve come to the right place.
Make sure to check out my little column here in each issue of
Photoshop User magazine and youll be amazed at how far
youll go in 2016. Cheers!
Solid Color; its the very first option at the top of the menu.
A Color Picker will pop up where you can choose the color
you want to use. Select your color and click OK. Eek! The
whole image is just one solid color. Dont panic; change the
layer blend mode (near the top of the Layers panel) to Color
and voil, you now have a tinted photograph. You can adjust
the Opacity and mix the color with the original version.
Tinted Photographs
Walk the Line
Have you ever seen a photo that has a strong color tint to
it? Perhaps you jumped into Curves and tried to replicate it,
or maybe turned on Colorize in Hue/Saturation? While these
methods will totally work, heres a quick-and-easy way to do
it. Best of all you can choose the exact color you want. Click
on the Create New Adjustment Layer icon (half-white, halfblack circle) at the bottom of the Layers panel, and select
This tip has multiple uses, but all of them deal with drawing straight lines. This works with any tool that uses a brush,
including retouching brushes and even varying pressure sensitivity between two points with a Wacom tablet. Heres how
it works: Click once to set the starting point, then hold Shift
and click anywhere to have a straight line drawn between the
two points. This works really well for removing power lines in
Adobe Camera Raw with the Spot Removal (B) brush.
Free Distort
Align and Distribute
When you press Command-T (PC: Ctrl-T), you go into Free

Transform mode, where you can Right-click and choose from
a number of options to bend or warp a photo or a shape.
A favorite is the Distort option, because you can position each
of the four corners of the bounding box wherever you like
for some great perspective-matching results. Did you know
that you dont have to Right-click to distort? Once youre in
Free Transform you can hold down the Command (PC: Ctrl)
key and grab any of the corner points and manipulate them
individually right there on canvas.
Have you ever had to arrange multiple objects onscreen and

struggled to find the exact same spacing between objects?
This could get really tedious; could being the operative
word. Because youre reading this, you wont be one of
those poor struggling souls anymore. When the Move tool
(V) is selected, there are a number of tools in the Options Bar
that can help you align and arrange things neatly. These are
the Align/Distribute options. Align does what it says; it perfectly aligns multiple objects by their tops, bottoms, sides, or
centers. Distribute also does what it says; it evenly distributes
or spaces objects onscreen. I usually start by
positioning the leftmost object and then the
rightmost object. Then I select all the layers
for each of the objects and click the desired
alignment and distribute options. Bam! Its
that easy.
Horizontal or Vertical Guides?
High Pass Sharpen

While there are a number of ways to sharpen an image, some
work better than others. Heres one that works really well;
but it doesnt involve any sharpening tools at all. This is a popular method of nondestructive sharpening used in the entertainment industry. Press Command-J (PC: Ctrl-J) to duplicate
your layer and change the layer blend mode to Overlay.
Dont worry that the image looks weird at this point. Choose
Filter>Other>High Pass. As you drag the Radius slider, youll
see the sharpening effect on your image. I love this method
and use it the most.
Anchor Point Transform
052
One of the cool things about using Free Transform (Command-T [PC: Ctrl-T]) is that you can do a number of things in
one place, including scaling, warping, and rotating. You may
or may not have noticed that when youre scaling or rotating,
Photoshop does this around an anchor point. The reason you
may not have noticed is that, by default, the anchor point is
in the middle of the bounding box and you may have never
changed it. You can reposition the anchor point by holding
down the Option (PC: Alt) key and clicking-and-dragging
anywhere inside or outside the bounding box. Now when
you rotate your object, it will rotate around the current location of the anchor point instead of the center of the bounding box. This is great for things like points on a clock face, etc.
Copy the Good Stuff

Its very possible that youve copied images or even layers
between documents. Using the Move tool (V), you click
on the image or layer in the document, drag to the tab of
another open document, wait a second for that document to
come to the front, then move your cursor into the middle of
the document and release the layer or image. Did you know
that you could drag anything directly from the Layers panel
to another document, as well? The catch is that you cant do
it with tabs. Heres how: With two documents open, choose
Window>Arrange>Tile All Vertically (you can use any of the
options, but the Tile All Vertically option works well). Youll
see the two documents side by side. You can now drag anything directly from the Layers panelincluding layers, masks,
styles, adjustment layers, and even pathsbetween documents. This isnt new; the ability to do this has been around
for years.
Guides were long overdue when they were

introduced into Photoshop. Before that, you
could hear clacking sounds coming from
design studios. This was the sound of a
wooden ruler against a glass screen. (Ill spare
you the pain of the metal ruler sound.) Okay,
I think you now understand the importance
of guides. So how do you get em? Open the
Rulers by pressing Command-R (PC: Ctrl-R).
All you need to do is drag out from one of the rulers and a
guide will appear that you can place wherever you like. Not
a big enough tip? How about this? When youre moving a
guide, you can hold the Option (PC: Alt) key to toggle the
guide from vertical to horizontal and vice versa. To top it off,
Photoshop CC users can now create guide grids by using the
Guide Layouts: View>New Guide Layout.
Automatically Create Guides

This carries on from the previous tip on guides (I didnt want
to have a collection of tips in a single tip). You can now create
a set of guides around a shape. For example, if you have a
rectangle and you want to have guides hugging each of the
four sides, its as simple as choosing View>New Guides from
Shape. This isnt something youll use every day, but if you
remember to use it when you need it, its a huge timesaver.
ALL IMAGES BY COLIN SMITH
Photoshop Tips
053
The
Challenge
WYSIWYG
of
WYSIWYG (pronounced wiz-e-wig) is an acronym for What you see

is what you get. For image-editing buffs, it describes the elusive goal of
getting prints to match whats onscreen. When you think about the different
054
make sense.
ways that monitors and printers produce colors, the problem starts to
055
most of the primary colorsred, green, and blueso you see
parent material, and it produces colors with phosphors, LCD
whats left over: dark brown. To extend the range of colors,
elements, or other light-emitting doodads, which is called
some printers use additional colors such as light cyan, light
an additive color system. In this system, the areas where
magenta, several varieties of black, and so on.
red, green, and blue lights overlap appear white. Does that
Given these two completely different approaches to cre-
ring a bell from high school physics? Think about it this way:
ating colors, its a miracle that the images on your monitor
If you aim red, green, and blue spotlights at a stage, youll see
look remotely similar to the ones you print. And, because
white where the three lights overlap. Interestingly, youll also see
there are a bazillion different monitors and printers on the
cyan, magenta, or yellow where two of the three lights overlap.
market (each using different technologies), you can see a big
Areas where no light is shining appear jet-black.
difference in how your images look depending on the moni-
In contrast, printers use a combination of paper, reflected

light, and cyan, magenta, yellow, and black inks, which is called
ADOBE STOCK/SILVANO AUDISIO
A monitors surface is made from glass or some other trans-
tor or printer you use. Heck, even changing the paper in your
printer affects how your colors print.
a subtractive color system. In this system, different-colored
The only way to get consistent prints is to have a calibrated
inks absorb different-colored light. For example, cyan ink
and profiled monitor of decent quality (youll learn about that
absorbs red light and reflects green and blue light back at
stuff shortly) and to know the following: which printer your
you, so what you see is a mix of green and bluein other
image is headed for; in which color mode that printer wants the
words, cyan. Similarly, magenta ink absorbs green light and
image to be; which range of colors that printer can reproduce;
reflects red and blue lightin other words, magenta. One
and exactly what type of paper youre using. Whew! Once you
last example: A mix of cyan, magenta, and yellow ink absorbs
have all that info, you need to communicate it to Photoshop.
056
As a first step toward WYSIWYG printing, remember that, in most
on the specific combination of printing technologies youre
cases, your image starts life in RGB color mode and eventually
using, including:
ends up being converted to some variation of CMYK when its
Colorants (color-producing substances): Some
printed (the images colors can be converted by the printer or you
printers, like commercial offset presses (shown here), use
can do it manually, though these days digital printers generally
pigment-based inks to produce color. Others, like inkjets,
prefer to do the conversion themselves). The next step is to under-
use either dye-based or pigment-based inks, and still oth-
stand more about how those two color modes differ. Enter the
erslike laser printers and digital presses (which are like
concept of color gamut.
fancy laser printers)use powdered toners.
A color gamut is the range of colors a given device can
Dot pattern: All of the printers mentioned above
reproduce. An RGB monitor, for example, can reproduce one
use a pattern of dots to reproduce images. Commercial
range of colors, and a CMYK printer can reproduce another
offset presses typically use halftone dots that are com-
(and theres not a monitor or printer on the planet that can
monly made from ellipses and diamonds.
produce a color range as wide as your eyes can see). While
Paper type: Each printer can also use a wide range
the color gamut of monitors and printers frequently overlap,
of paper, from plain to matte to super high-quality
theyre never identical. Your printers color gamut depends
glossy. (Quick Tip: Youll usually get much better quality
Understanding Color Gamut and Profiles
057
using glossy paper.) If you want your inkjet printer to
profile, you can access it via the Printer Profile menu in Photo-
Calibrating Your Monitor
(www.pantone.com/pantone-colormunki-smile) or Datacol-
reproduce its full gamut of color, you need to use a spe-
shops Print Settings dialog.
To ensure accurate prints, its also important to make certain
ors Spyder5EXPRESS (http://spyder.datacolor.com/portfo-
Tip: For high-quality ICC profilescolor profiles that have
that your monitor is displaying colors accurately. Both the Mac
lio-view/spyder5express) come to mind. But to be able to
been vetted by the International Color Consortium Registry
and Windows operating systems come with built-in calibration
truly trust the colors your monitor is showing you, youll need
To account for all these variations, you can use color pro-
visit their website (www.color.org/registry/index.xalter). The
programs, though for best results, you should use an external
to spend more. Options include the Spyder5PRO, which runs
files to tell Photoshop exactly which colorants and papers
ICCs website also has a ton of great (and heady) info about
measuring device like a colorimeter or spectrophotometer (hand-
about $190, or the Pantone i1 Display Pro (www.pantone
you want to print with. Color profiles contain detailed info
color management.
sized gadgets that clamp onto your monitor and measure the
.com/pantone-i1display-pro-2), which is around $270.
about the printers color gamut and, in some cases, the paper
youre using, although that info usually lives in a separate
Profiles Arent All Equal
file called a paper profile. Photoshop comes with a variety
Its shocking but true: Some profiles are just plain wrong. Pho-
of all-purpose, generic profiles, but you can also get profiles
toshop comes with many built-in color profilessuch as Adobe
from printer and paper manufacturers.
RGB (1998) and sRGBthat include general color-mode info for
A simpler and perhaps more accurate solution, however, is
monitor so that it displays a series of colors and images consis-
to buy a monitor that comes with its own calibration software
tently. Having a calibrated monitor also lets you preview more
and colorimeter, such as an NEC model with SpectraView II
accurately how images and colors will print (a process called
(www.necdisplay.com/support-and-services/spectra-view-II).
soft-proofing, discussed later in this column).
You can pick up a 27" model for around $1,550 (the 30"
displaying images, as well as slightly more specific (though still
As of this writing, you can buy a calibrating device for
generic) color profiles (e.g., U.S. Sheetfed Coated v2) that con-
your monitor for around $100, although the more sophis-
Another step toward seeing your images the way theyll
tain gamut information for printing on a typical sheetfed press
ticated ones cost a little more. Theres no harm in starting
look when printed is by telling Photoshop what color work-
Most of the time, you can download printer driversthe soft-
using standard inks and coated paper. If your printing conditions
with an affordable model: Pantones ColorMunki Smile
space your monitor should use. Choose Edit>Color Settings
ware that lets Photoshop communicate with your printerright
are indeed standard, you may get decent results by using one of
from the printer manufacturers website, though you might have
these built-in profiles.
Finding and Installing Drivers

and Color Profiles
058
colors it displays). The calibration process involves adjusting your
to poke around a bit to find them. Its always best to get printer
You can also use printer-and-paper-specific profiles, com-
drivers straight from the company that made the device. The
monly referred to as paper or output profiles, created by such
manufacturers site should explain how to install them.
manufacturers as Epson and Canon, who make profiles to
Similarly, you can typically download color profiles from
match almost every kind of paper they sell: glossy, luster,
the paper companys website (be sure to get the profile for
matte, and so on. The more closely a profile matches your
your printer), though you can also get custom color profiles
printing conditions, the more accurate and useful it is. Youll
from professional printing companies (theyre usually happy
find that high-quality paper profiles, like the ones from Epson
to share them with you if you ask). Luckily, the profiles you
and Canon, provide invaluable help with proofing and print-
get from larger companies, such as Canon and Epson, come
ing. In fact, when youre shopping for paper, its wise to con-
with an installer program. If yours doesnt, ask the company
firm that the paper manufacturer offers paper profiles that
it came from where you should put it on your computer (it
match your printer and ink. And be wary of buying paper
depends on your operating system).
from companies that dont!
Every printer and paper manufacturers website is differ-
Youll also want to test the profiles by actually printing
ent, but they all have similar options. Typically, drivers and
with them. If youve been printing with other paper and pro-
profiles live in the download or support section of the site,
files, print some test images using the same image for both
but its usually easiest to Google your printers name plus the
sets of papers and profiles, and then compare the results.
item youre after, such as Canon PIXMA profile, Epson R3000
Youll probably find that some paper manufacturers profiles
profile, and so on. Once youve installed the appropriate color
are better than others.
version is $2,250).
cially coated paper made to work with your inks.
059
plug-in and Photoshop Lightroom. Choose this mode
sRGB: Also slightly smaller than Adobe RGB (1998),
View>Proof Colors or press Command-Y (PC: Ctrl-Y) to see
if youre a pro photographer shooting in RAW format
this workspace is great for prepping images for use
your image in sRGB. If the image looks good, youre done. If it
and working with 16-bit files in Photoshop. In the info-
on the Web, in presentation programs, in videos, and
doesnt, use the method of your choice to make the colors look
graphic shown below, the ProPhoto RGB workspace
submitting to online printing companies (labs such as
like you want (say, using a Hue/Saturation adjustment layer).
is shown in white with the other workspaces super
www.mpix.com). This is the RGB workspace Photoshop
When youre finished, choose Edit>Convert to Profile, and
imposed on top of it. The bottom image shows the Pro-
uses unless you pick another one.
in the resulting dialog, choose sRGB (or whatever colorspace
Photo RGB workspace compared to the color gamut of
The CMYK workspace, on the other hand, represents the
you soft proofed) from the Profile drop-down menu in the
smaller number of colors that are reproducible with ink on a

LESA SNIDER
the truly incredible human eye.
Photoshop Color Settings
menu that most closely describes the kind of press on which
ProPhoto RGB vs. Adobe RGB (1998)
Printing on an Inkjet Printer

If youre a photographer, you probably use an inkjet printer,
ular workspace, and it includes a wide range of colors, so
most likely one with an expanded-gamut that uses 68 inks,
its perfect for designers and photographers. Its also great
rather than the standard 4 (most folks call them inks, but theyre
for printing on inkjet printers and commercial presses.
ProPhoto RGB vs. Apple RGB
technically dyes). The most common combination of expanded-
Tip: You can also change your digital cameras color pro-
gamut ink includes the four standard process colorscyan,
file to match what you use in Photoshop. For example,
magenta, yellow, and black (CMYK)plus light cyan and light
most cameras are initially set to sRGB mode, but you can
magenta. You may also have a choice of black inks; for example,
switch to Adobe RGB instead. Alas, youll have to dig
glossy or photo black, matte black, light black, and even light-
out your owners manual to learn how, but the increased
light black.
range of colors and monitor consistency is worth it!
ProPhoto RGB vs. sRGB
Nearly all expanded-gamut inkjet printers can convert RGB
Apple RGB: This workspace was designed for use
images to CMYK (plus any additional inks they may have).
on small Apple monitors. Its slightly smaller than Adobe
For the brightest and most saturated colors, let the printer
RGB (1998) in that it contains a narrower range of colors.
convert the colors for you; however, to get the most accurate
So, unless youre rocking a vintage 13" display, steer clear
results, manage the conversion yourself in the Photoshop
of this workspace.
Print Settings dialog. Heres how to do that when printing a
ColorMatch RGB: Designed to match the color-
ProPhoto RGB vs. CMYK
Tip: If youre working with an image with a different pro-
space has a slightly smaller gamut than Adobe RGB
file than you want to printsay, the image is Adobe RGB
(1998). If youre using one of those Radius monitors,
(1998) and you need it to be in sRGB because youre having
this workspace is a good choice.
an online lab do the printingyou may want to view it in that
ProPhoto RGB: Currently the largest workspace in
other color space first and then convert its profile. To do that,
images. Its the native workspace of the Camera Raw
ProPhoto RGB vs. human eye
the image and set its resolution (pixel size) to be appropriate

for your printer. Press C to activate the Crop tool and choose
W x H x Resolution from the crop size drop-down menu in the
Options Bar. In the fields to its right, enter your dimensions,
including the unit of measurement for the width and height
fields: 10 in x 8 in at 350 ppi in this example. Resize and reposition the crop box to your liking and then press Return (Enter)
when youre finished.
high-quality image on an expanded-gamut printer:
space of the old Radius PressView monitors, this work-
use, this one is used by software that processes RAW
Step One: Make sure youve cropped, corrected, and resized
choose View>Proof Setup>Internet Standard RGB (sRGB) or

whatever colorspace you want to soft proof. Next, choose
Step One
Adobe RGB (1998): To date, this is the most pop-
ADOBE STOCK/MAYA KRUCHANCOVA
know about choosing the one thats right for you:
then pick a profile from the Color Settings dialogs CMYK
choose, ask your print shop.
choose a profile from the RGB menu. These color workspaces
060
commercial printing press. If you routinely edit CMYK images,
your images will be printed. If you dont know which one to
and, in the Working Spaces section of the resulting dialog,

differ greatly in color gamut, and heres what you need to
Destination Space area, and click OK.
061
Step Two: Choose File>Print or press Command-P (PC: Ctrl-P).

From the Printer menu at the top of the dialog, pick your printer. (If
your printer isnt listed, visit the manufacturers website and download the latest driver for it.) Click the icon of the layout you want,
portrait or landscape, and then click Print Settings. The resulting
dialog belongs to your printer, not Photoshop, so the settings you
see may be slightly different from the ones shown here.
Step Four
Step Five
beneath the print preview and make sure Match Print Colors
corner of the paper. In the Scaled Print Size area, make sure the
and Show Paper White are turned on, which gives you a decent
Scale option is set to 100%.
onscreen proof in the preview area.

Tip: You can drag the lower-right corner of the dialog to
Step Two
Step Three
enlarge it, and the preview area, to get a good sense of what
Step Six: Click Print and listen for the pitter-patter of your printer
firing up.
062
Step Three: From the Paper Size menu, choose your papers
Step Four: In the Photoshop Print Settings dialog, make sure
From the Printer Profile menu, pick the profile that matches
dimensions. If youre printing borderless, be sure to choose a
your image perfectly fills the print preview area at left. If it
the paper you picked in the previous step. From the Rendering
borderless version of the paper dimension you picked. Next,
doesnt, you may need to adjust the size or resolution you used
Intent menu, choose Relative Colorimetric, and then make
choose Printer Settings from the menu in the middle of the dia-
in Step One, or you can turn on the Scale to Fit Media check-
sure the Black Point Compensation checkbox is turned on.
log. The wording of your printers dialog may vary, so you may
box in the Position and Size section farther down in the dialog
These options help maintain the color relationships
have to root around for these, or similar, settings.
(see image in Step Five) to make the image fit the paper. (If you
in your image, and preserve contrast by
From the Media Type menu, pick the paper youre printing
go that route, make sure the Print Resolution that Photoshop
making sure that the black shadows
on (say, Ultra Premium Photo Paper Luster). Leave the Print
reports to the right of the checkbox is high enough to produce
in your original RGB image are black
Mode menu alone, as your printer automatically sets it to the
a good print.)
in the final print. If youre printing a

16-bit image, be sure the Send 16-bit
appropriate mode for the Media Type you choose. The Color
Next, use the Color Handling menu to control whether Photo
Mode menu is controlled by the Color Management section of
shop or your printer driver converts the images colors from RGB
the Photoshop Print Settings dialog (discussed next). Think of
to the printers colors. For the brightest and most vibrant colors,
the Output Resolution menu as a quality setting; your printer
choose Printer Manages Color, and then skip to Step Five. For
Step Five: Scroll down in the dialog
automatically adjusts it based on the Media Type you chose
more accurate results, however, choose Photoshop Manages
and in the Position and Size section,
earlier so you dont need to change it. The High Speed check-
Colors, and Photoshop automatically turns off the Color Mode
make sure the Center checkbox is
box lets your printers print head print while its moving in both
menu in your printers dialog (mentioned in the previous step).
turned on. If you didnt crop your
directions instead of one. (If you turn it off, your image will
Its worth experimenting with both options, but youll likely
image before starting this process, this
print more slowly, but it might look a little better.) Click Save
find that letting Photoshop manage colors gives you higher
setting makes your image print from the center outwardas
When its finished, youll finally see the fruit of your hard WYSI-
quality and more consistent results if youre using paper-specific
much of it as will fit on the paper size you pickedinstead of
WYG labor in the form of a gloriously accurate, high-quality print.
profiles. If you pick Photoshop Manages Colors, take a peek
aligning the upper-left corner of the image with the upper-left
Until next time, may the creative force be with you all!
(or OK, or the equivalent button) to close your printers dialog

and return to the Photoshop Print Settings dialog.
Data checkbox is turned on.
Step Six
the print will look like.
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PHOTOGRAPHY SECRETS
PHOTOGRAPHY SECRETS
colorful
lies
by Kevin Ames
THE BRAIN IS A WONDER OF LEARNING, RECALL, INSIGHT, CREATION, EMOTION, AND

MORE. WHEN IT COMES TO MAKING PHOTOGRAPHS, THE BRAIN ALSO TELLS INCREDIBLY
COLORFUL LIES. THIS ISSUES PHOTOGRAPHY SECRETS SHOWS HOW TO RECOGNIZE,
THE COLOR OF LIGHT

Managing color in photography means working with
the color of the light, which always has a color. Think
of candlelight, which is very warm and yellow-red in
color. A light bulb gives light a yellow hue. Daylight,
while chosen as the standard of white most of
the time, is blue(ish). And overcast light shines really
blue. Colors of light are measured in degrees Kelvin
( K), also known as color temperature. The lower
the temperature, the warmer (redder) the color of
light becomes.
Thanks to our brains, our eyes see the mouse as
white no matter what color the light illuminating it
happens to be; however, the camera doesnt share
the brains predilection to prevarication. In this image,
when we photograph the mouse with the cameras
white balance set on daylight, it reveals the true colors
of the light from a bulb, daylight, and open shade.
064
Temperature of light
UNDERSTAND, AND CONTROL ITS LITTLE FIBS.
Color, as recorded by a camera, is much different than

it appears to the eye. Why? The brain lies. Actually, it
doesnt lie at all: The brain understands what is white
no matter what the lights color may be. That doesnt
mean the brain sees color accurately. It simply makes
things look right to us. A white mouse sitting on a table
in a room lit with incandescent bulbs looks white; but
is it really white? Look at it again. Our brain says, Yup.
Its white. The white of the mouse (and any other
color) appears as we believe it should. Yet incandescent
light in photography is yellow, so what gives?
True colors of light
065
PHOTOGRAPHY SECRETS
PHOTOGRAPHY SECRETS
By the way, Auto White Balance (AWB) is the cameras best

guess at what the color of the light is. To my way of thinking,
however, guesswork is best left to psychics.
While the ordinary light bulb is close in color to late afternoon sunlight, other sources add challenges to controlling color
photographically. Fluorescent light tubes historically have a green
component. This is easy to see when you go shopping: Stand
with the outside window slightly behind you, look into the store,
and youll notice that signs close to the windows are white while
those farther into the store take on a greenish hue. The advent
of LED and fluorescent replacements for light bulbs make color
control even more important. Other sources of the hideous color
variety are found lighting streets, parking areas, and in older arenas; for example, sodium vapor and similar outdoor lights have
truly awful color.
COLOR CAST
What is color cast? Its a color that affects a photograph in a
global way. Both the greenish gown and the blue snow are
examples of color cast. So is the golden light of late afternoon sunshine. The first two are unwanted, while the latter
is highly desirable. Its a matter of aesthetics.
CONTROLLING LIGHTS COLOR
WHITE BALANCE
Compare this burning streetlight to the daylight around it.
NEUTRALIZING COLOR
Using white-balance settings in the camera is one method of
neutralizing color; for example, photographs shot as JPEGs
must be neutralized in camera using the white-balance
066
White balance is for the cameras recording of color, similar

to what the brain does for the color of light. Setting the white
balance filters the color of the incoming light digitally to a close
approximation of white light. Since photography started with
daylight as the only light source, its considered photographic
white light at 5500 K. The tungsten (Canon) or incandescent
(Nikon) white-balance setting adds blue filtration to the yellow
light from a bulb to bring it back to white. Warming filtration
is added when the setting is for shade or cloudy. Fluorescents
green light is handled by the addition of magenta (the complement of green) to neutralize it.
White-balance settings get the photograph close to white;
however, there are situations where even the best white-balance
choice leaves something to be desired. Consider a bride in a beautiful white wedding gown photographed standing on a lush lawn
on a sunny day: White dress plus light bouncing off green grass
equals a green tinted gown. Not good. And what color is snow
on a bright sunny day? Its not white. The Alaskan sky behind me
in this image is bright blue; the white balance is daylight; and the
snow is blue. These are all examples of color cast.
Simply put, when one color of light is stronger than the others, there will be a color cast in a photograph. When all of the
colors are of equal strength, the photograph will be neutral.
This color wheel shows the primary colors of photography:
red, green, and blue. Where two colors overlap it creates
their complements: yellow, cyan, and magenta. All three
combine to make white.
tools. On the other hand, RAW files dont have any color in
them at all. Instead, they have black-and-white data about
the image and a lookup table (LUT) that tells the RAW converter the color of each pixel on the cameras sensor. RAW
files dont care what the color of the light was during capture, because it can be set easily in the RAW processor.
Ill show you below how to do this in Camera Raw. [Note:
Sean McCormack covers some tools in Adobe Lightroom in
Maximum Workflow on page 82.Ed.]
Since the brain is a lousy judge of color, photography
requires a neutral third party in the form of a known reference, and X-Rite makes the industry-standard known as
ColorChecker Targets for this purpose. I carry the ColorChecker Passport Photo in my camera bag, and I also have
one on the shooting cart in the studio and another clipped to
the tray of my studio stand. I use both when shooting tethered. The ColorChecker Passport has the standard 24-patch
color target that was developed by Macbeth in 1976. Additionally, it has a set of patches designed to warm or cool
a photograph consistently just by clicking with the White
Balance tool. Even when Im not shooting tethered, I include
a ColorChecker whenever the light changes. It can be as
simple as holding it at arms length in the same light as the
subject, then releasing the shutter.
What color is snow?
White balance brings image back to white
067
PHOTOGRAPHY SECRETS
CAMERA RAW
As I mentioned, the ColorChecker is my known reference. Each Passport has a line of six identical, colorimetrically neutral patches running from white to almost
black. (Usually, the ColorChecker is the first photograph

I make, because if I wait to do it last, Ill probably forget
to shoot it at all.) After a shoot, I open the ColorChecker
photo in Camera Raw through Bridge. I get the Color
Sampler tool by tapping S on the keyboard, then click
on the white patch (#1), then the black patch (#2), and
finally on the third one away from the white one (#3).
The screenshot shows the results out of the camera.
Looks great, doesnt it? Thats our brains going about
their lying ways. The RGB numbers for the samplers show
the true story: R(ed): 202 and G(reen): 201. These two
are very nearly the same. B(lue), at 192, is a lot less. Now,
lets look at the color wheel: Yellow is the complement of
blue and exactly what occurs when equal numbers of red
and green overlap. And so, this photograph has a yellow
color cast.
The ColorChecker photo
BALANCING COLOR IN CAMERA RAW
068
A tap on the I key brings up the White Balance tool and

then a single click on the #3 patch equalizes the RGB
numbers to 200 each. Equal numbers remove the color
cast. Compare this image to the ColorChecker photo
above with the yellow color casta really big difference.
Once the color is balanced, I click Done, and back in
Bridge, the shot with the white-balanced ColorChecker is
still selected. I choose Edit>Develop Settings>Copy Camera Raw Settings, and then I select all of the photographs
shot in the same light as the ColorChecker. Finally, I go
back to Edit>Develop Settings and choose Paste Camera
Raw Settings. All of the selected photographs are now
white-balanced with great accuracy and impressively fast.
The ColorChecker is the truth detector that keeps our
brains from telling us those colorful lies.
After removing the color cast
ALL IMAGES BY KEVIN AMES
Rob Sylvan
Scott Kelby
Sean McCormack
Rob Sylvan
Scott Kelby
71 76 82 88 90
BY SEN DUGGAN
&
&
Tips Tricks
BY SCOTT KELBY
Questions Answers
Maximum Workflow
BY SEAN McCORMACK
colorchecker passport photo
Under the Loupe
B Y R O B S Y LVA N
consistency is key
Lightroom Workshop
BY SCOTT KELBY
setting the white balance
Lightroom
Workshop
setting the
white balance
BY SCOTT KELBY
I always start editing my photos by setting

the white balance first, because if you get
the white balance right, the color is right, and
your color correction problems pretty much
go away. You adjust the white balance in the
Basic panel, which is the most misnamed
panel in Lightroom. It should be called the Essentials panel, because it contains the most
important, and the most used, controls in the
lightroom magazine contents
Excerpted from The Adobe Photoshop

Lightroom CC Book for Digital Photographers
entire Develop module.
lightroom magazine
Step One:
In the Library module,

click on the photo you want to edit, and
then press the letter D on your keyboard
to jump over to the Develop module.
By the way, youre probably figuring
that since you press D for the Develop
module, it must be S for Slideshow, P
for Print, W for Web, etc., right? Sadly,
nothat would make things too easy.
Nope, its just Develop that uses the first
letter. (Arrrrgggh!) Anyway, once youre
in the Develop module, the White Balance controls appear at the top of the
Basic panel, and the photo is displayed
using whatever you had the white balance set on in your digital camera (thats
why it says As Shot to the right of
WB. Youre seeing the white balance
as it was shot, which in this case is
way too blue).
Step Two:
072
There are three main

ways to set the white balance, and well
start with trying out the different builtin White Balance presets (if you shot in
RAW, Lightroom lets you choose the
same white balance settings you could
have chosen in the camera. If you shot
in JPEG mode, all these presets wont
be availablejust Auto will be available
because your white balance choice is already embedded in the file. We can still
change the white balance for JPEG files,
but aside from choosing Auto, not from
this pop-up menu). Click-and-hold on
As Shot and the pop-up menu of White
Balance presets appears (as seen here).
lightroom magazine
Step Three: In our photo in Step

One, the overall tone is really blue
(not very flattering to most folks), so it
definitely needs a white balance adjustment. We need to make it warmer, so
choose Auto from the White Balance
pop-up menu and see how that looks
(as you can see here, its much better
all-around, but that doesnt mean its
the right one, so we have to try a few
others to see which one gets us closest to how he looked in real life). The
next three White Balance presets down
will make things warmer (more yellow),
with Daylight being a bit warmer, and
Cloudy and Shade being a lot warmer.
Go ahead and choose Cloudy (just so
you can see it), and now the whole photo is much too warm.
Step Four: If you choose either of

the next two downTungsten or Fluorescenttheyre going to be way crazy
blue, so you dont want either of those.
In this case (since I lit the shot with
flash), I tried the Flash preset (as shown
here), and it looks pretty decent. Its
warmer than Auto and people generally look better with a warmer skin tone,
so I might stick with that one. By the
way, the last preset isnt really a preset
at allCustom just means youre going
to create the white balance manually
using one of the two other methods
were going to look at. Now, heres
what I do: First, quickly run through all
the presets and see if one of them happens to be right on the money (it happens more than you might think). If one
looks right on the money, thats it. Im
done. If not, then I just use the one that
is closest as a starting point, and I go on
to method #2.
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lightroom magazine
Step Five: Method #2 is, again, to
Step Seven: First, choose As Shot
start with a preset that is close to what

you want, then tweak it using the Temp
(short for Temperature) and Tint sliders
found just below the WB preset menu.
I zoomed in here on the Basic panel so
you can get a nice close-up of these
sliders, because Adobe did something
really great to help you out herethey
colorized the slider bars, so you can see
what will happen if you drag in a particular direction. See how the left side
of the Temp slider is blue, and the right
side graduates over to yellow? That tells
you exactly what the slider does. So,
without any further explanation, which
way would you drag the Temp slider to
make the photo more blue? To the left,
of course. Which way would you drag
the Tint slider to make the image more
magenta? See, its a little thing, but its
a big help. Note: To reset both the Temp
and Tint sliders to their original settings,
double-click on the letters WB.
from the White Balance pop-up menu,

so were starting from scratch with this.
Now click on the tool to get it, then ideally, youd click it on something in your
photo thats supposed to be gray (thats
rightdont click on something white,
look for something gray. Video cameras
white balance on solid white, but digital
still cameras need to white balance on a
gray instead). All you have to do for this
image is click the White Balance Selector tool on his jacket (I clicked just to the
right of his jacket collar) and the white
balance is fixed (as seen here).
Step Six: Lets put this to use. I wound
074
up sticking with the Flash preset, but I felt

it was a little too warm (yellowish). So,
lets drag the Temp slider slowly toward
the blue side (to the left), so the skin tone
doesnt look quite so yellow. In this case,
that had me dragging over to 5168 (when
I chose the Flash preset, it set the Temperature to 5500the higher the number, the
warmer the color). Thats all there is to it
use a White Balance preset as your starting place, then use the Temp and/or Tint
sliders to tweak it until it looks right (heres
a before/after from the original to the one
we corrected). Okay, those are Methods
#1 and #2, but Method #3 is my favorite
and the way I think youll usually get the
best, most accurate results, and that is to
use the White Balance Selector tool (its
that huge eyedropper on the top-left side
of the white balance section, or press W).
Heres the White Balance temperature settings

when you choose the Flash preset
lightroom magazine
tip: dismiss the white

balance selector tool
In the toolbar, theres an Auto Dismiss
checkbox. With this turned on, after
you click the White Balance Selector
tool once, it automatically returns to its
home in the Basic panel.
Step Eight:
This is more of a tip

than a step, but its super-helpful. When
youre using the White Balance Selector
tool, look over at the Navigator panel on
the top of the left side Panels area. As
you hover the White Balance Selector
tool over different parts of your photo, it
gives you a live preview (as shown here)
of what the white balance would look
like if you clicked there. This is huge, and
saves you lots of clicks and lots of time
when trying to find a white balance that
looks good to you. Next, youll probably
notice a large pixelated grid that appears
while youre using the White Balance Selector tool. Its supposed to magnify the
area your cursor is over to help you find a
neutral gray area but if it drives you crazy
(like it does me), you can get rid of it by
turning off the Show Loupe checkbox
down in the toolbar (Ive circled it here in
red, because my guess is youll be searching for that checkbox pretty quickly).
075
ALL IMAGES BY SCOTT KELBY
consistent naming practices

One of the first things you should do is create a consistent
file-naming and folder-naming convention. I dont believe
that theres a single right way to name files and folders, but as
long as the method you choose makes sense to you and (most
importantly) it can scale up over time, then that should do the
trick. Lightroom can help you with both of those jobs, so lets
look at folder names first. I like to use Lightroom to create folders as part of the import process, and I also like to use the automated date-based folder-name structure, as it scales nicely into
the future without my having to do anything more. The one
thing I dont like about Lightrooms automated folder-naming
functionality is that you cant customize the date-generated
names to include more than just a date; however, this limitation is easily overcome after import. Heres my approach:
lightroom magazine
step three: Configure the rest of the Import dialog

options and click the Import button.
Once the import process is complete, youll see the new
folder(s) appear in the Folders panel. At this point, I have the
date-based folders, which is great, but I also want to add a
descriptive word or two to the folder name to help me know
what the folder contains. To do this, simply Right-click the
folder name and choose Rename from the contextual menu
that appears. This opens the Rename Folder dialog where you
can add a word or two and click Save, which renames the
folder on your drive and updates the catalog to reflect this
change. This process gives me the best of all worlds: an automated process that contains meaningful information and
scales nicely into the future.
step one: In the Destination panel of the Import dialog,

set the Organize option to By Date and choose a Date Format
that suits your needs.
step two: Select the par-
Under
the
Loupe
consistency is key
B Y R O B S Y LVA N
One of Lightrooms greatest strengths is its ability to help you

create a consistent foundation to your workflow that saves
you time through its efficiency, and gives you dependable
results. We love Lightroom for the power of the Develop module, but theres so much more to love about how Lightroom
can streamline our entire postprocessing and asset-management workflows. In fact, there are a number of things you
can do right from the start that will help you create a more
consistent workflow.
Note: Lightroom creates

the subfolders based on the
capture date of the photos
being imported, and these
new folders will appear in
the Destination panel in an
italicized font.
filenames
When it comes to individual filenames, I also look to Lightroom to automate the process. Again, this is an area with lots
of room for individual customization, as we all have our own
needs to fill; but the basic process starts by creating a custom
filename template that includes information thats important
to you. Once you create a filename template, you can configure it to be applied from the File Renaming panel of the Import
screen, or you can apply it at will from the Library module after
import. Youll need to decide where it best suits your workflow, but I know some people prefer to rename after import so
that they can delete photos they dont want, and then rename
all the remaining files in a continuous sequence that doesnt
contain any missing numbers.
You can access the Filename Template Editor from anywhere you can rename photos, including the Library module and the Import screen. From the Library module, go to
Library>Rename Photo(s), then click the File Naming dropdown menu in the Rename dialog, and choose Edit. From
the Import screen, expand the File Renaming panel, check
on Rename Files, click the Template drop-down menu, and
choose Edit. Once the editor is open from either location, the
steps for creating a new template are the same:
ent folder where you want

Lightroom to create these
date-based subfolders.
077
lightroom magazine
lightroom magazine
step one: Delete any existing tokens from the editing

window to start fresh. To delete a token, click on it to highlight it, then press the Delete (PC: Backspace) key.
step two: Choose any combination of tokens to create a
template that suits your desired filename convention.
Note: You can hard-code data into the filename template simply by typing into the editing window. For example,
I often enter a hyphen or underscore separator by typing this
character between tokens.
step three: Click the Preset drop-down menu and choose

Save Current Settings As New Preset to save your template for
reuse. Give it a meaningful name that represents the tokens
used, click the Create button in the New Preset dialog, and
then click the Done button in the Filename Template Editor.
Heres a simple template I use, which consists of the Date
token in YYYYMMDD format, followed by an underscore,
followed by the Filename number suffix token (this is the
camera-generated sequence number without the three letter
prefix). These filenames can be quite sophisticated, but I lean
toward keeping it short and sweet.
078
A metadata template containing your core contact and copyright information is another way to ensure that youre consistently applying the same information to all of your photos.
Once created, this can be applied during import via the Apply
During Import panel. You can create a Metadata template from
the Import screen by clicking the Metadata drop-down menu
and choosing New, or you can access the same editor from the
Library module by going to Metadata>Edit Metadata Presets.
Once the Edit Metadata Presets dialog is open, you only
want to enter information that applies to all photos equally.
For me, this includes all of the IPTC Copyright and IPTC Creator fields (with the exception of my street address). One
thing to keep in mind with this template is to check only the
box next to a field youre customizing with your own information; otherwise leave the boxes unchecked to retain any
metadata that may already exist. Ive seen some people make
the mistake of checking the box for the GPS field only to find
that this makes Lightroom wipe the data from that field. Similarly, make sure theres no unwanted information (such as
keywords way at the bottom) that you dont want to include.
Once configured (and double-checked), click the Preset drop-
down menu, choose Save Current Settings As New Preset

to save it for reuse, and click Done. Oh, and dont forget to
update the year in your Copyright come January.
consistent metadata
079
lightroom magazine
consistent develop starting place
step one: Select an unprocessed RAW photo and move

to the Develop module. Click the Reset button to make sure
there are no settings applied.
settings to consider applying are: camera profile (Camera

Calibration), Lens Corrections, capture sharpening (Detail),
Tone Curve, and any secret special sauce you might want
all your photos to have.
Note: I dont recommend checking the Enable Profile
Corrections box in the Lens Corrections panel without
considering the impact this will have on Lightrooms rendering of previews and working smoothly later on. This
is a wonderfully useful setting, but it does require Lightroom to work a bit harder. I save this one for a preset
I can apply on a case-by-case basis when Im ready. Your
mileage may vary.
step two: Apply any settings you always want to use as
step three: Once youve dialed in your settings (and
your starting place for your postprocessing. Only include settings that you want applied to all photos by default. The main
made sure there are no unwanted ones), go to Develop>Set

Default Settings, then click the Update to Current Settings
With your basic file management and metadata under control, you can now shift your attention to creating a consistent
default setting for your RAW photos that can help your photos
look more like they do in-camera right out of the gate, and
save you a lot of clicks down the road. This also allows you
to save any Develop presets you might want to apply during
import for more creative pursuits. Heres how:
lightroom magazine
button to commit. Note that theres always the Restore

Adobe Default Settings button if you decide you want to
go back later, so you can always change this if you want.
All this does is give you a customized starting place.
This will not change any previously imported photos,
but will affect only the default Develop settings for RAW
photos imported in the future from the same camera
model used to create this custom default, or photos from
the same camera model when you click the Reset button
(which resets to the new defaults). If you use more than
one camera youll need to repeat this process with a RAW
photo from each camera.
The best thing about creating export presets is that, once you
have them, you can skip the Export dialog completely simply
by going to the File>Export with Preset menu, and selecting
your desired preset. Lightroom does the rest just the way you
configured it.
080
Youve brought your photos into Lightrooms care, youve processed them with your consistent style, and now youre ready
to send them out into the world. You can save yourself time
here too by creating custom export presets that allow you to
reproduce the same results consistently during output. Like me,
you probably export copies for a wide variety of reasons, but
there are probably some core destinations that you revisit frequently, such as a regular client, an online lab, a stock agency,
some photo-sharing site, your blog, etc. In each of these cases,
the photos will vary, but the specifications that the photos
need to meet for each situation will stay the same. These are
the cases that will benefit greatly from export presets.
For example, when I export copies destined for Stocksy
United, a stock photography co-op to which I belong, I have
an export preset that controls every parameter, so I know
that each submission is consistent with previous ones. Heres
how to create your own export preset:
step one: Select the photos for export and click the Export button.
step two: Configure the Export dialog to contain only the
consistent output
settings needed for this specific output destination.
step three: Click the Add button under the Preset window to open the New Preset dialog, and give it a meaningful
name. Optional: Store the preset in a folder for better organization of your presets.
081
ALL IMAGES BY ROB SYLVAN
On top of white balance, Lightroom allows us to choose
There is indeed such a way. It requires a chart with a known
how the colors in our photos will render via the Profile
set of colors that gets mapped from your photo of the chart
section of the Camera Calibration panel. The position of
to the actual chart colors. There are quite a few of these on
the panel belies the importance of Profiles, something
the market, all at various price points and usability. For me, the
I and many other Lightroom experts feel should be in
ColorChecker Passport Photo from X-Rite (http://xritephoto
the Basic panel. Lightroom ships with Profiles to match
.com/colorchecker-targets) combines the right mix of price,
the color Modes and Picture Styles we find in modern
robustness, compactness, and ease of use (both physically
cameras, but what if I were to tell you theres a way to
and in software) that makes it my number-one choice. For
get accurate color thats tailored to the light youre shoot-
the record, I bought mine, though I did recently win another
ing in, as well as the camera and even the lens youre
in a Twitter giveaway. Im not affiliated with X-Rite, but would
shooting with?
be more than happy to be because the product is that good.
colorchecker
passport photo
BY SEAN McCORMACK
Color accuracy is one of the more important

fundamentals of digital photography. Were used
to setting our cameras to auto white balance,
or using the preset white balances in either the
camera or Lightroom to get more accurate color.
Some even go the route of setting a custom
white balance in camera using a gray card, or
shooting one to use in Lightroom.
Maximum
Workflow
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lightroom magazine
Simply take a photo of the card at the start of the shoot.
traits, shoot with the Passport aimed at your key light at
Here I shot with a Fuji X-T10 and 35mm lens. The scene
The ColorChecker Passport comes with a disk that installs the
Back in Lightroom, you can click the White Balance Selec-
face level or close. Make sure you dont overexpose the
was lit with an Elinchrom BRX 500 modified by a 95cm
Lightroom Plug-in required to create the custom profile. You
tor (shortcut W) eyedropper on the White Balance Target in
white swatch, or the plug-in will fail to generate a profile.
Octabox, so I included this information in the filename so Id
can also download the software from X-rite.com (http://kel
that photo to remove color casts. Copy the white balance to
To help the software, you can zoom into the Passport, but
know exactly what the profile does. It may seem overly pedan-
.by/1XvaQhN). Lets look at the install from a download,
the other photos in the shoot via Settings>Copy and then
its not essential, though it needs to be reasonably large in
tic, but other lenses and lights will be different. Even the age
which is slightly more complex than a disk install. The Mac Ver-
Settings>Paste Settings or Sync. Note that this assumes the
the frame. Also, make sure the person icon is upright. Take
of the flash tube on a light can change the color emitted.
sion installs as a DMG disk image, while the PC version is a Zip
lighting hasnt changed. Each lighting change requires a new
the photo, then remove the passport, and carry on with
file. Run the DMG, or open the Zip. Inside the Passport_Plugin
Passport shot. This is also true for using the Profile generator.
your shoot.
folder is a file called XRiteColorCheckerPassport.lrplugin. You
The second chart is the Creative Enhancement Target. This
need to move this plug-in somewhere safe, preferably some-
is a row of defined colors followed by two sets of gray tar-
where it wont be deleted, and will be backed up as part of
gets, then a set of grayscale swatches. This is an alternative
your normal backup routine. I use a folder called LR Plugins
method to set white balance. The bottom swatches allow
in my Documents folder, where I keep all of my downloaded
you to choose a different gray from which to set your white
Lightroom plug-ins. Move the plug-in into your safe folder.
balance. The two center rows let you vary the color away
Inside Lightroom go to the File>Plug-in Manager. At the
from neutral. The top one is for portraits; note the person
bottom left of the panel is an Add button; click this and browse
icon, which should be faced upright when using the pass-
to where you put XRiteColorCheckerPassport.lrplugin.
port. The first swatch is neutral grey. As you move right, each
Select it and click the Add Plug-in button. The plug-in is
swatch is bluer than the previous, so clicking the swatch adds
enabled and ready for use; no restart is required. Click Done
more yellow to the white balance. While not accurate color,
to exit the Lightroom Plug-in Manager.
warmer skin looks much healthier and pleasing than neutral
using the plug-in
tones; hence the massive fake tan and sunbed industries. The
When the shoot is imported, go to the photo of the Pass-
second of these rows is for landscapes. This time, the neutral
port. Use the White Balance Selector in the Basic panel of
tone is in the center. Clicking to the left makes the image
the Develop module and select the second or third brightest
cooler; to the right warmer.
swatch to set the color balance before running the plug-in.
If youre running from the Export dialog, select X-Rite
where the profile generation failed because it couldnt find

the Passport, so its good practice to crop into the swatches.
If you look closely, youll notice there are four crop marks
around the swatches making it easy to select exactly what
the plug-in needs.
With the chart cropped, run the plug-in, either from the
using the colorchecker passport
ing that you can make Dual Illuminant DNG Profiles. These are
made with two images: one with Daylight, the other Tungsten.
Adobes own profiles are dual-illuminant; however, as youd
normally make a profile for a specific lighting situation, theres
little need to do this. You can click Learn More to find out more
about them. The next section basically explains that you need
to restart Lightroom. The plug-in can also detect if youve run
a custom monitor profile and display if you need to update it.
Click Export to generate the Profile. This takes about a minute.
If successful, youll get a dialog asking you to restart.
the resulting dialog and click Save. Often people assume that
Obviously, you need to have a photo of the ColorChecker

ties of getting the shot and prepping for the plug-in.
Export dialog you get more information about profiles, includ-
log. If you use the Export with Presets menu, enter a name in
ColorChecker Passport below the X-Rite Presets section.

Passport for the plug-in to work, so lets look at the practicali-
Presets in the Export To drop-down menu at the top. In the
File>Export with Presets menu, or by opening the Export dia-
To use the plug-in, go to File>Export with Preset and select

install
While the plug-in will run with a full photo, Ive had times
084
lightroom magazine
The third chart is the one were really concerned with

here: the Classic Target. The 24 colors here are industrystandard, color-reference swatches for evaluating specific
colors. The reason why theyre so accurate is theyre actu-
The Passport is a hinged plastic case with two sections con-
ally made with paint. For this reason, you need to be care-
taining three charts. The design means it can self-support in a
ful that your models dont touch them, as oils from your
scene (e.g., on a tabletop for product photography). The first
fingers can affect the color. When you run the plug-in, it
section is the White Balance Target, and it contains a gray
will compare each swatch in the photo with the color its
card. This can be used to set white balance in Lightroom.
supposed to be, and match them in the profile. For por-
just the camera name and lighting type are good enough as
a filename, but, in truth, each lens you use with your camera
will render the image differently. Youre better off creating
profiles that are lens specific.
If it fails, try again, checking that youve cropped correctly.

Restart Lightroom to load the new Profile.
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lightroom magazine
applying the profile
switch next to the Sync button to turn on Auto Sync, then
To apply the new profile, open the Camera Calibration panel.
select the new Profile.
Comparing the two versions, the image with the new

profile applied shows more vibrant colors and richer tones.
The Profile section will say Adobe Standard. Click this and
Alternatively, use Settings>Copy Settings with only Cali-
select your new profile. To apply it to all of the photos from
bration and Process Version selected, then Settings>Paste
You can make profiles for any and every situation you
the shoot at once, select the images in the Filmstrip, click the
Settings. If you used Auto Sync, remember to turn it off.
shoot. Personally, Ive become more and more dependent
Before
lightroom magazine
on mine, and regret when I dont use it. It just speeds up

color correction!
After
ALL IMAGES BY SEAN McCORMACK
087
Lightroom Magazine
&
Lightroom Magazine
Questions Answers
I have a preset that Ive developed

in my desktop version of Lightroom.
How can I bring that preset over to my
mobile device so I can use it there?
088
Heres a great way for you to get those presets across all of
your devices. Make a collection in the Lightroom Library module called My Presets. In the Collections panel, click on the
little square icon to the left of this collection and it will now be
synced with all of your devices. Once thats complete, place
images inside of this collection that use each of the presets you
want to sync over to your mobile device (I would recommend
that you change the name of the image to the name of the
preset that its using).
Once you have that
image in your collection, it will sync across
to Lightroom Mobile in
no time. In Lightroom
Mobile, press-and-hold
on the image and a
menu will appear. Click
on Copy Settings at the
top of the menu. A dialog will appear allowing
you to select all of the
settings that you want to
paste to the new image.
Finally, navigate to the
new image, press-andhold on it, and select
Paste Settings from the
top of the menu.
Ive been syncing my Lightroom collections with my mobile devices and now,
all of a sudden, I dont see them there.
Is there something that Im doing wrong?
If you hover over the Lightroom CC badge on the upper left
of the screen, youll see a drop-down arrow appear. Click
on it and a couple of different processes will appearone
of them being Sync with Lightroom Mobile. If you see the
word Paused and a play button next to it, chances are
ADOBE PHOTOSHOP
RC CONCEPCION
the syncing has been inadvertently stopped. Click on it and

youre off and running again.
How many catalogs can I have open in

Lightroom at the same time?
Lightroom only allows you to sync to one catalog at a time.
If you attempt to sync to another catalog, it will replace the
images that you have in the existing catalog with the images in
the catalog to which youre trying to sync.
I took a bunch of pictures with someone

elses camera and dont have my computer with me. Is there a way to import
the card to my phone to get the images
to my computer at home?
I have an even better solution for you. One of the newest
features of Lightroom CC is the ability to access your images
over the Web! Navigate to lightroom.adobe.com in any Web
browser and sign in with your Creative Cloud ID. Once youre
there, youll see a screen asking you to either drop the images
in the window or click to select the files you want to upload.
The high-resolution images will automatically be uploaded into
the cloud for you. Create a collection for them (you dont really
have to but its a good habit to get into) and youre good to
go! Once you get back to your desktop at home and launch
Lightroom, youll see the images being synced to your catalog.
I noticed that there are two sets of

images inside my Lightroom Mobile
app: the ones in my collection and
the ones on my phone. Are these
duplicate images?
There are two ways for you to work inside of Lightroom
Mobile: One of them is to work with individual images and
import them as you need them (which is what I prefer). Once
you start Lightroom, you can go into the Camera Roll and
select the images that you

want to work with. Clicking on the Import button will bring them over
into Lightroom Mobile.
Once those images are
imported, youll see them
in the Camera Roll area in
Lightroom with a checkmark. You could also let
Lightroom manage all
of the images you take
with the mobile devices
camera by selecting the
Auto Add Photos button
at the start of the Lightroom screen. In both cases,
youre going to want to be sure to empty the images out of the
Camera Roll once theyre in Lightroom.
When I look at my images in Lightroom

Mobile, I want to see the camera settings and star ratings for each of the
images. How do I control when I see
those details?
Once you have the image
open in Lightroom Mobile,
press on your screen with
two fingers. An overlay
will appear showing you
the metadata information
for the picture you took.
Single press on the details
and it will cycle through
the rating and star information for the picture. If
you press on it another
time, the overlay will show
you the histogram for the
image. Pressing on it again
with two fingers will then
turn the overlay off.
This not only works in single image mode but also in the
grid view for the pictures. Its a good idea to know how to turn
this on and off as sometimes it can be a little unwieldy to see
that information on smaller screens.
How can I quickly create a slide show

video of the images that Ive made to
share online?
Adobe has introduced a
new program for mobile
devices called Adobe Premiere Clip that will take
care of all of that for you!
Click on the three dots to
the right of the collection
and a menu will appear
letting you send the information over to Adobe
Clip (make sure you have
it installed). Once thats
sent over, the slide show
will automatically be created, and a song will be
chosen for you. Of course
youll be able to change
the music and duration, but you cant beat getting it done
fast! From there you can publish the slide show, save it to your
Camera Roll, or edit it in Premiere Pro.
Whats the difference between Photoshop Fix and Photoshop Express?

Photoshop Express was designed to make quick corrections to imagesthings like cropping, straightening,
color adjustments, and redeye removals. Photoshop Fix
is built on Photoshop technology that really gets in there
and does serious image retouching, letting you paint
effects, smooth out and defocus parts of images, and
access powerful features such as Liquify, Patch, and Heal.
You can send images into Photoshop Fix right from inside
of Lightroom when you need that extra step of image
editingjust make sure you have it installed on your
mobile device!
ALL IMAGES BY RC CONCEPCION
ADOBE PHOTOSHOP
089
Lightroom Magazine
Lightroom Magazine
&
TipsTricks
Lightroom provides many ways that you can adjust the color
in your image, either to correct for an obvious and unwanted
color cast, such as that produced by certain types of artificial light sources, or to apply color more interpretively. In this
months column well take a look at the different ways you can
alter color in Lightroom.
the white balance eyedropper tool
The primary way for correcting for unwanted color due to artificial light sources, as well as setting a custom white balance in
the image, is to use the White Balance Eyedropper tool. You
can activate it from either the Library or the Develop modules
by pressing W on the keyboard, which places the white balance eyedropper in your cursor. Pressing W again docks the
eyedropper back in the Basic panel. To use it, simply click on
something in the image that should be a neutral tone, such as
gray or a white with tonal detail (more on that below).
090
using gray targets to set

white balance
Placing a gray or color target in the scene and taking a few
well-exposed test shots will give you an accurate reference
that can be used to set white balance when you process
your shots. I use the SpyderCHECKR 24 by Datacolor. In
addition to neutral gray areas for measuring white balance
and midtone response, the reverse side also has several
color patches if matching the precise color in the reference
target is critical for the subject youre photographing. Once
in Lightroom, you can use the White Balance Eyedropper
tool to click on a gray swatch in the target to set a correct
white balance for the shot.
ADOBE PHOTOSHOP
SEN DUGGAN
using neutral guides to correct

white balance
Even though many gray targets are small and easy to carry in a
pocket or camera bag (or as a patch you can stick to the inside
of a lens cap), there will always be those times when theyre not
available for a shot. If theres any area in the scene that should
be a neutral, or close to it (e.g., the gray in a cloud, the whites
of the eyes, gray metal, gray cement, a white shirt), you can use
these with the White Balance Eyedropper tool to get started. If
youre clicking on a reflective metallic object, zoom in and make
sure youre not inadvertently clicking on a reflection that has
color in it. I like to call these areas neutral guides, because
they can help me determine a neutral, or close to neutral, color
balance for the image. Of course, elements you find as part of
the scene may not be strictly neutral in terms of setting a correct
white balance, but it will get you much closer to the mark, and
you can then fine-tune with the Temperature and Tint sliders, if
needed, to arrive at a visually pleasing color balance.
the Check None button, click the checkbox for White Balance
at the upper left, and click Synchronize to apply the white
balance from the source shot to all of the selected files. The
reason to first choose Check None, and then only select the
White Balance correction is that other adjustments you may
have applied to the first image (e.g., Brightness, Contrast,
etc.), may not be appropriate for the other images.
tive, and for those the HSL panel offers controls over the three
primary ways we think about color: Hue, which is the general
flavor of the color; Saturation; and Brightness or Luminance
(the L in HSL). Clicking All at the top of the HSL panel will
expand it to show all three controls in one panel. Click on one
of the other headers (Hue, Saturation, or Luminance) to return
to a single-panel view.
save a custom white balance preset
using the targeted adjustment tool
If you routinely find yourself in the same location and lighting

conditions for a specific and recurring job, consider saving a
custom white balance preset that can be applied to images as
theyre imported. To do this, follow the steps above for using
a gray target to set white balance, and then click the plus symbol next to Presets in the left-hand panels. In the New Develop
Preset dialog, click Check None, and then select White Balance and Process Version (the latter will ensure predictable
results in future versions of Lightroom). When you import
files, you can access the custom preset in the Import module.
Open the Develop Settings menu and find your white balance
preset for that location and lighting conditions.
At the top left of the HSL panel (or to the left of each panel
section if youre viewing all three at once), youll see a small
target symbol. Click on this to activate the Targeted Adjustment Tool (often called the TAT, this tool can also be found
in the panels for the Tone Curve and the Black & White treatment). With the tool active, click-and-drag up or down on an
area of the image to apply a change. The change you get will
depend on what adjustment youre applying. For fine-tuning
color with the HSL panel, this is a good way to identify what
color you might want to adjust. Although Lightroom offers
eight different colors that you can target to adjust the hue,
saturation, and luminance of colors, on some images it may
not be clear which slider you need to work with. Clickingand-dragging on an area with the TAT will move the sliders
that affect colors in the area youre targeting. When youre
finished making your color fine-tuning adjustments, be sure
to click the TAT target button again to turn it off.
syncing white balance across

multiple files
Once youve corrected the white balance in one shot, you
can apply the same setting to multiple files that need the
same correction. With the corrected shot still selected in the
Develop module filmstrip, select the other shots. If theyre in
a contiguous row adjacent to the first shot, simply Shift-click
on the last shot to select the entire row. If you need to select
noncontiguous shots, Command-click (PC: Ctrl-click) on the
thumbnails you want to select, and then press the Sync button on the lower right. In the Synchronize Settings dialog, click
the color panel
fine-tuning color with the hsl panel

White balance corrections are some of the most common
color adjustments that photographers make in Lightroom. In
addition to correcting white balance and removing color casts,
they can also yield pleasing color results in many situations.
But some color changes may be more interpretive and subjec-
In the same group as the HSL panel, youll find the Color panel.
At first glance, this may seem to be a different panel; however,
its really just another way of applying the same type of changes
you can do with the HSL controls. You can work with an individual color by clicking the color buttons (these are the same
eight colors you can adjust in the HSL panel), or you can click All
in the upper-right corner to see all eight colors and their corresponding hue, saturation, and luminance sliders in one view.
ALL IMAGES BY SAN DUGGAN
ADOBE PHOTOSHOP
091
Product Reviews
GET THE SCOOP ON THE LATEST GEAR
Intel Solid-State Drive 730 Series

Fast and Sturdy Memory Storage
Review by Erik Vlietinck
High-Resolution, Versatile Camera
Review by Steve Baczewski
092
The new full-frame, 42.4 megapixel, Sony a7R II is the successor

to its a7R with a list of notable improvements, many of which
reflect that Sony has been paying attention to professional photographers comments. Key is the development of an EVF system instead of the bulkier mirror-box optical viewfinders found
in most Canon and Nikon DSLRs. The result is that Sonys camera/lens systems are smaller, lighter, and easier to carry around.
The a7R IIs black magnesium alloy body is solidly constructed
with a deeper, more comfortable grip and a beefed-up lens
mount for heavy lenses. The shutter button is larger and relocated on top of the grip for easier access, and the mode dial
now locks in place. Oddly, the front and back control dials are
smaller, which might become an issue when shooting gloved in
cold weather. The 3" LCD tilts up and down but doesnt swing
sideways, and sadly it isnt touch-sensitive, which is so practical
for rapidly changing the area of focus.
The 2.36M-Dot EVF on the a7R II is wonderful to compose
with: Its large and bright, refreshes rapidly, and has a 0.78x
magnification for enhanced viewing. The EVF displays pertinent exposure information (including a histogram) and, when
combined with the cameras zebra feature, is meticulous for
achieving precision exposure. Of note is the convenience of
adjusting the zebras without moving your eye from the viewfinder because of its proximity to the exposure compensation
dial. As you turn the lens barrel to focus in manual mode, the
EVF magnifies the subject and, when used in combination with
focus peaking, theres the feel of a precision tool.
The a7R II is slightly bigger and heavier than the a7R, because
a built-in, 5-axis image stabilization unit now bolsters the sensor, which effectively adds 23 stops of breathing room when
shooting handheld: You can also set your minimum shutter
speed in the menu. Embedded in the sensor, and broadly distributed, are 399 autofocus phase-detection and 25 contrastdetection points. The phase-detection points work with all
lenses and react accurately and faster than contrast-detection,
with less hunting in low-light situations. They efficiently lock
on and track subjects when shooting continuously at a7R IIs
5-fps RAW. The sensor is now back-illuminated, which improves
light-gathering efficiency and noise handling, especially in lowlight situations, and enables the ISO range to go up to a rather
fantastic 102,400. Realistically, I found ISO 6,400 and 12,800

very usable. Theres also added sharpness by not using an AA
(anti-aliasing) filter in front of the sensor and, despite conventional wisdom, I didnt see any moir patterns even after several
months of shooting.
Alone, and in partnership with Zeiss, Sony has marketed a
number of high-quality prime and zoom lenses, and to gild the
lily, the a7R II can use many of Canons EF lenses via adapters,
while maintaining image stabilization, auto aperture control,
and phase-detect autofocus, without loss in speed. The issue
of shutter vibration with the previous a7R has been reduced by
the implementation of an electronic front curtain. If you use
the electronic shutter in full mode, the shutter becomes 100%
silentvery handy for situations that call for discretion like weddings or solemn occasions.
With a recent firmware update, the a7R II now shoots uncompressed, 14-bit RAW files, which are full of detail with a wide
dynamic range. The camera responds quickly to changing situations, in part because of 10 programmable buttons that make
frequent trips to the menus unnecessary. The a7R II supports
internal recording onto your SD card of full-frame and cropped
APS-C 4K (UHD) video, as well as recording 1080p at 60 fps and
720p at 120 fps for slow motion.
While not flawless, the a7R II is an impressively versatile,
enjoyable-to-use, high-resolution camera.
Company: Sony
Price: $3,199.99
Web: www.sony.com
Rating:
Hot: Still and UHD video quality; built-in Wi-Fi with NFC
Not: Poor battery life; menus; single memory-card slot
ment where it might be dropped or jostled, and a metal enclosure has the added benefit of dissipating heat. I tested the SSD by
recording uninterrupted for 2 hours, and even after that amount
of time, it wasnt really hot. It operated with flying colors and
recorded the footage without a glitch.
The Intel 730 Series sits in the middle of the 240-GB SSD market price range, but it offers better-than-average performance, a
metal enclosure, and excellent reliability.
Company: Intel
Price: From $149.99
Web: www.intel.com
Rating:
Hot: Fast; metal enclosure; reliability
Not:
Canon PowerShot G9 X
High-Resolution Performer in a Small Package
Review by Larry Becker
Convenient, versatile, and powerful, the Canon PowerShot G9 X

has a 20.2-megapixel sensor and a nice 3x optical zoom lens
(35mm equivalent: 2884mm zoom). The 1" sensor is larger than
most point-and-shoot or smartphone cameras, so the image
quality is better too.
The camera is loaded with features, including a 3" LCD screen
(also a touchscreen); a built-in pop-up flash; and a mode dial on
top, with a variety of automated and manual shooting modes
for stills and video. The zoom lens has built-in Intelligent Image
Stabilization so it will correct for a variety of movement, or camera shake, so you get the sharpest possible stills and video. And,
when it comes to video, you can shoot full 1080p at frame rates of
60, 30, and cinematic 24 fps. Theres also a dedicated movierecord button on the back in addition to the shutter button on top.
Sharing those gorgeous images is important too. The builtin Wi-Fi and Near Field Communications (NFC) means that the
Canon PowerShot G9 X can wirelessly offload images so you can
use your smart device or computer to upload pictures straight to
social media or an online portfolio. Keep in mind that this is fine
for an image or two, but wireless file transfer of an entire SD card
would take a long time; instead, youll want to pop out the SD
card and offload bulk images that way.
Some interesting in-camera special features and processing
give users a number of different star shooting options including Star Trails and Star Nightscapes. Special photo effects include
Vivid, Neutral, Sepia, and a number of additional color-finishing
options. There are also in-camera editing options such as red-eye
correction, photo book and print settings, and more.
All in all, the Canon PowerShot G9 X offers features and performance in a compact camera for amateur photographers or
professionals looking for a backup to their DSLR.
Company: Canon U.S.A., Inc.
Price: $529.99
Web: www.usa.canon.com
Rating:
Hot: Size; image quality; pro-level controls; touchscreen
Not: Grip
SONY a7R II
Its a pity that few DSLR video shooters know Intels solid-state
drive (SSD) range because their 730 Series performs well in todays
available video recorder/monitors, and it has a few unique benefits.
The Intel 730 Series is the companys top SATA SSD, delivering up to 3,760 Mbit/sec. (A DCI 4-KB 60-fps ProRes 422[HQ]
recording using an Atomos Shogun or Ninja Assassin requires a
1,886 Mbit/sec throughput.) But speed isnt everything. In the
world of video recording, reliability is another important aspect.
With 50-GB writes per day (91 TB over its lifetime), the Intel 730 S
outperforms the competition.
I briefly tested the units performance with the Blackmagic
Disk Speed Test app for OS X. I mounted the SSD in a RocketStor
5212 Thunderbolt disk dock and managed a 450-MB/sec read and
275-MB/sec write speed. I then installed the SSD inside an Atomos
Master Caddy II for use with a Ninja Assassin. With the Assassin
and Shogun, recording disks sit at the back of the unit, but not
enclosed by it, and the result from any spinning disk after a couple
of minutes warming up is a disturbingly loud noisea problem
you dont have with an SSD.
In addition, the SSD enclosure of the 730 S is metal, which is
better than plastic when using the SSD in a production environ-
093
DxO ONE
Powergorilla and Solargorilla
The Camera Your iPhone Always Wanted!
Portable Power Solutions for Indoor/Outdoor Use
Review by Michael Corsentino
The DxO ONE camera is the iPhones new must-have imagemaking partner! As the saying goes, the best camera is the one
you have with you, and more often than not, thats an iPhone.
The iPhones gorgeous retina screen and connectivity provide the
perfect platform for image review and sharing; however, its not
a dedicated camera. Thats where the DxO ONE shines! If youve
been longing for full control, RAW-format support, high-end
optics, awesome low-light performance, and oodles of dynamic
range, without having to carry a bulky camera, youre going to
love the DxO ONE; its a game changer.
A first of its kind in many respects, the DxO boasts a ton of
enviable specs. Here are the highlights: Lightning port connectivity with 60 camera swivel; 20.2-megapixel still resolution;
1080p at 30 fps/720p at 120fps video resolution; CMOS BSI
sensor; 32mm-equivalent aspherical lens with a variable sixblade iris aperture from f/1.8f/11; two-stage, shutter-release
button (for easy focus and recompose); digital 3x zoom; spot,
center, weighted, and multi-zone metering modes; shutter
speeds from 1/8000 to 15s; 10051,200 (Hi 2) ISO; JPG, DNG,
DXO (SuperRAW), MOV (H.264) file formats; microSD UHS-I U3

(not included); storage port; and more!
What does all this mean to you, the iPhone photographer? It
means flexibility and full creative control over your image making! The DxO ONE unlocks the iPhones potential by giving photographers a dedicated, high-performance camera to drive it, all
in a highly compact package thats smaller than the palm of your
hand. Think about it, full control over aperture, shutter speed,
and ISO on your iPhone, and a camera that swivels! You can
finally shoot portraits from the hip at f/1.8 on an iPhone and get
soft backgrounds, bokeh, high-end image quality, and RAW files
without having to carry a DSLR.
Company: DxO
Price: $599
Web: www.dxo.com/us/dxo-one
Rating:
Hot: Full manual control; high dynamic range; micro SD memory slot
Not: Price; currently only one aspect ratio available
Retouching on the Go
Taking the Pain out of 4K DSLR Video Production
Recharging a fully depleted Powergorilla using the Solargorilla

takes well over a day; but you can buy a split (Y) cable (about
8.50) and have two Solargorillas charge the unit simultaneously.
The Solargorilla's full charging capacity is only reached in open
air, but I tested it from behind a window, and it worked well.
Although you can charge a device using the Solargorilla, its
primary use is to charge the Powergorilla; therefore, it may not
work well with some laptops requiring 40W electric current. The
Powergorilla/Solargorilla combination is great for use in a studio
as well as in the field.
Company: Powertraveller Ltd.
Price: Powergorilla: 160; Solargorilla: 145
Web: www.powertraveller.com Rating:

Hot: Form factor; lightweight; sturdy; adapter system works well
Not:
Adobe Photoshop Fix has armed mobile users with a first-of-itskind, powerful, retouching toolset for use on iPad, iPhone, and
Android devices. Available from the Apple App store, Photoshop
Fix is noteworthy for its ease of use, intuitive touch interface, and
for bringing retouching capabilities to mobile devices that were
previously found only in desktop versions of Photoshop.
Photoshop Fix comes with a full suite of the editing and
retouching tools youve come to rely on. Top level toolsets include
Crop; Adjust (add vignettes); Liquify; Heal and Patch; Smooth
(soften or sharpen skin); Lighten and Darken; Color; Paint; and
Defocus. Powerful retouching tools include Liquify, Warp, Swell,
Twirl, Reconstruct, and Face Aware Liquify, each controlled via
touchscreen sliders and gestures. Additional must-have tools, such
as Spot Heal, Patch, Clone Stamp, Fix Red Eye, and Restore are also
included. Best of all, everything is accomplished nondestructively.
Burning and dodging are tackled with the Lighten and Darken
tools, where youll find controls for Brush Size, Hardness and
Opacity, and a Structure tool for additional contrast. Brush size
is relative to the actual screen size rather than the image, which
means less time spent adjusting the brush size as you zoom in and
out to make adjustments.
Ninja Assassin is a generous-sized but lightweight HDMI-only

monitor/recorder. It shares the same 4K/60 fps ProRes 422
recording capabilities and huge screen as Shogun, its SDI sibling
from Atomos. Its packaged in a soft EVA carrying case with one
disk caddy and a power adapter. The device is made from the
same material as the first brightly colored iMacs, and with its red
silicon Armor Bumper, it can withstand rough handling.
The Ninja Assassin comes with a LANC, HDMI in/out, and minijack audio in/out ports. It also has a DC/In power port and a large
on/off switch. With eight channels of audio over HDMI and two
analog audio channels, plus an awesome screen, its the perfect
monitor/recorder for a Sony A7 or a Panasonic-Lumix DMC-GH4.
While the hardware is a joy to work with, a large part of
the agreeable experience is due to AtomOS version 6.5, which
is exclusively available to the Ninja Assassin and Shogun. This
latest version supports tagging clip ranges with metadata
(10 FCP X keywords) while recording, or during playback. The large
screen lets you comfortably monitor color, white balance, exposure, and focus. AtomOS 6.5 also supports 3D LUTs for display
output and recordings, saving time when color grading, as well
as allowing you to match color balance from different cameras.
Review by Michael Corsentino
The Powergorilla is a 21000-mAh battery pack that will power

your laptop or other 524V devices. The Solargorilla is a rubberized, foldable solar panel that can charge the Powergorilla or
anything else that works with 5V or 20V electric current. Each
is approximately the size of an iPad; however, the Powergorilla is
heavier, and both are thicker.
The Powergorilla is made of aluminum with a rubber bumper
for extra protection. It has a status LCD, a button that acts as an
on/off switch, and a voltage selector. Along the top of the unit
youll find DC/In and DC/Out ports and a USB interface. You can
power multiple 5V devices and one device with a higher voltage
simultaneously. For example, I ran two BALLED Pro photo lamps
off the USB port, and one Akurat Lighting video lamp at 8.4V off
the DC/Out port.
The unit comes with two complete sets of plugs to power
all kinds of equipment. You charge the unit with its adapter, a
supported laptop adapter, or the Solargorilla. When recharging
the unit from the universal AC mains adapter, you can keep on
charging other devices, including your laptop.
Atomos Ninja Assassin
Adobe Photoshop Fix
094
GET THE SCOOP ON THE LATEST GEAR
If youre an Adobe Creative Cloud subscriber, Adobes

CreativeSync keeps your apps, the cloud, and the desktop connected. Photoshop Fix is deeply connected to Lightroom and
Photoshop, which makes for a seamless operation when handing
off an image from one app to the next, or exporting to desktop
apps. Once youre done editing, you can save the file locally as a
project, or publish the image to social media sites, such as Facebook, Instagram, Behance, etc. In fact, Photoshop Fix even allows
you to save a layered PSD of your project file to your Creative Cloud
account for additional work in the desktop version of Photoshop!
Company: Adobe
Price: Free
Web: https://itunes.apple.com/app/id1033713849 Rating:

Hot: Full-featured mobile retouching; touch interface; support for Tiff files
Not:
One great addition is the ability to record time lapses that

you can make as simple or as complicated as you wish. A motion
blur capability takes 65 consecutive frames and merges them
together into one frame, which is great to get those smooth
automobile light streaks. And for screening or showing clients
a rough cut, you can now create entire playlists. For example,
I could create a rough cut of all clips that I tagged with the metadata keyword Talent 1.
Company: Atomos
Price: $1,295
Web: www.atomos.com
Rating:
Hot: Screen size; quality; productivity and efficiency features; time lapse
Not:
REVIEWS
095
BOOK REVIEWS
PETER BAUER
The Headshot: The Secrets to Creating

Amazing Headshot Portraits
By Peter Hurley
The Essential Student Guide

to Professional Photography
By Grant Scott
I may be shooting their head, but Im aiming for their heart.
What this is not is a book about how to take professional
That one short sentence tells you just about all that you need
photos. In fact, youll find almost no information about actu-
to know about the way Peter Hurley approaches headshots.
ally capturing images. Instead, its a primer on how to get into
For the author, its about photographs that show expression.
the field of commercial photography (with the assumption
If you look at enough headshots, youll see that the majority of
that you already know how to make excellent photos). The
the subjects have a rather blank or bland expression: The photo
reader may find sections to be rather dogmatic and with some
is about the look of the subject, not about the subject herself
internal contradictions, for example: This may also require
or himself. That may be enough if the selection process is only
you to shoot in a way that you dont agree with followed
about finding a look that meets a need. But when theres more
two paragraphs later by It is essential that the photographer
at stake, say when casting a role that requires a certain kind of
leads a shoot. The first part of the book is about finding your
personality, the headshot may be the difference between the
niche (photographic voice), but it also spends time on devel-
call (or a callback) and being cast aside (so to speak). A variety of
oping contacts, creating a specialized website, and how to
headshots will enable a client to submit the one most appropri-
effectively use Twitter. (Theres also a hardcover version of this
ate for the potential role.
book available for $89.95, but I cant imagine any advantage
over the less-expensive paperback and digital version.)
096
Publisher: New Riders
Pages: 223
Publisher: Focal Press
Website: www.peachpit.com
Website: www.focalpress.com
Price: $44.99; ebook $28.79 Rating:
Pages: 182
Price: $29.95 (paperback and Kindle) Rating:
Photoshop
January 2016
I N D E X
O F
A D V E R T I S E R S
For advertising information, please contact Kevin Agren, V.P. Sales, at 813-433-2370.
email: kagren@kelbymediagroup.com
4 Over, Inc . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99
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Digital Photographers, The . . . . . . . . . . . . . . . . . . . . . . . . . 97
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Epson . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . IFC3
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KelbyOne . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3637, 47, 100

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Westcott . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . IBC
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[M]
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While every attempt has been made to make this listing as complete as possible, its accuracy cannot be guaranteed.
COLUMN
From The Help Desk

Answers to Photoshop and gear-related questions

BY PETER BAUER
Ive been experimenting with Photoshop CC 2015s Select>Focus Area command and am getting
uneven results. It seems to work very well when theres also a big color difference between the infocus and the out-of-focus area, but not so well when the foreground and background are similar
in color. Any tips?Jake
To: Jake
From: KelbyOne Help Desk
102
While color can make a difference, the most important

factor in the effectiveness of Select>Focus Area is how
much difference there is in focus between the foreground
and the background. For an example of Focus Area doing
a great job when both the subject and the background
are the same color, take a look at my prize-winning photo,
Frozen Berry, which can be found at www.IndyPixels
.com. Using the default settings, Focus Area flawlessly
separates the in-focus areas of white ice from the out-offocus white snow and overcast sky behind.
There are a couple of factors that determine how
out-of-focus the background will be when capturing
an image. Usually the most important factor is the lens
aperture, how wide open the lens ishow much light
is reaching the cameras sensor. (Or, in days of yore,
reaching the film.) Remember that when reading an
aperture value the smaller the number, the larger the lens
opening, and the more light reaching the sensor; and the
larger the number, the smaller the opening, and less light.
Most zoom lenses in use today have variable apertures, depending on the zoom factor. At the shortest
zoom factor, that aperture may be f/4.5 or f/5.6. Typically, the farther out you zoom, the smaller the minimum
aperture. (Some top-of-the-lineread expensive
zoom lenses have a fixed minimum aperture throughout
the zoom range, sometimes as large as f/2.8.)
Prime lenses, those that have only one zoom setting, often offer considerably larger openings through
which light passes. The Canon 50mm f/1.2 lens, which
I used to capture Frozen Berry, has a very wide open-
ing. That creates a very shallow depth of field (the distance measured in inches or millimeters from the lens
that remains in focus). The out-of-focus tree branch
behind the berry in Frozen Berry was actually only a
couple of inches away. Capturing that image at f/4.5
would have included the branch within the depth of
field, keeping it in focus.
And that brings us to another factor that helps determine what is in focus and out of focus in any given
image: the distance from the lens. If the subject is as
close as possible to the lens (at the lenss minimal focus
distance) and the background is very far away, even an
aperture of f/4.5 can capture a sharply focused subject in
front of a blurry background.
To get the best results from the Photoshop Select>
Focus Area command, your subject should be in very
sharp focus, and the background should be as blurry as
possible. You can set your camera to Aperture Priority
(usually represented by the letter A on a dial on your camera), use the smallest f-stop available (the largest opening), perhaps boost the ISO setting a couple of steps to
speed the shutter, and get as close to the subject as your
lens allows. With suitable separation between your subject and the background, you should have enough difference in focusregardless of color differenceto get
a great selection from Select>Focus Area. If you think
youll regularly want to have a very sharp subject in front
of a very blurry background, consider investing in a prime
lens with a very large aperture. The 50mm, 85mm, and
100mm lenses are usually the most versatile.
The KelbyOne Member

HELP DESKS
Are you taking advantage of the Help Desks at the KelbyOne member website? This is the place where you can get all of your
Photoshop and Lightroom questions answered either by other KelbyOne members or by our Help Desk experts. Not only that, you
can get photo and computer gear help and advice, as well. What are you waiting for? Visit the Community section on the KelbyOne
member site today!
Photoshop User magazine is the official

publication of KelbyOne.
Each issue features in-depth Photoshop
tutorials written by the most talented
designers, photographers, and leading
authors in the industry.
As a KelbyOne member, you automatically receive Photoshop User delivered
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times a year.
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T H E A D O B E P H O T O S H O P

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UNDER THE LOUPE

LIGHTROOM TIPS & TRICKS

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From the Editor

About Photoshop User Magazine

Exposed: Industry News

FROM THE HELP DESK

Intel Solid-State Drive 730 Series

Powergorilla and Solargorilla

Photoshop Book Reviews

How to Add Motion to Skies

But WaitTheres More

The Hot Tips Issue Cover Art

PHOTOSHOP PROVING GROUND

Curves Adjustment Layer

Quick Selection tool

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A Message from our Editor and Publisher, Scott Kelby,

ARTIST SPOTLIGHT SHALANA ROBERTS

ARTIST SPOTLIGHT JOEL LAUTERBACH

A KelbyOne member for more than four years, Gilmar M.

the most intimidating, humongous camera Ive ever seen, but

Smith was born and raised in Venezuela, but currently lives

I was determined to learn how to use it. So, I did a search

and works in Orlando, Florida. Obsessed with all things pho-

tography, she is up to any creative challenge. She describes

got a membership. I watched a video on how to use a Canon

herself as a risk taker, cupcake lover, and social media junkie.

5D Mark II, and right away started playing with my camera. By

ARTIST SPOTLIGHT TINA ZITO PHOTOGRAPHY

ARTIST SPOTLIGHT CESAR ANDRES MENDEZ GARCIA