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® ® T H E A D O B E® P H O T O S H O P® “ H O W - T 0 ” M A G A Z I N E › › d e c e m b e r 2 0 1 5 I N - D E P T H S T E P - B Y - S T E P T U T O R I A L S P H O T O S H O P D O W N A N D D I R T Y T R I C K S N E W S , R E V I E W S A N D O T H E R C O O L S T U F F

Printing 3D models

from Photoshop CC is

easier than you might think

How to add

realistic-looking falling

snow to your winter scenes

DYNAMIC

RANGE

BEGINNERS’

WORKSHOP

The Official Publication of

Scott Kelby’s 10th Annual

gonzo holiday

gear guide

Visit our website at kelbyone.com

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TABLE OF CONTENTS

› ›

DECEMBER 2015

› ›

KELBYONE.COM

FEATURE

60

Departments

From the Editor

6

Contributing Writers

10

About Photoshop User Magazine

12

KelbyOne Community

14

Exposed: Industry News

18

48

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.

Printing in the

Third Dimension

A longtime expert in Photoshop 3D, Corey Barker finally delves

into the world of 3D printing. Using Photoshop and an Ultimaker 2

Extended, Corey shows how easy (and addictive) it is to take your

3D creations that have only lived in a digital space until now and

print them into three-dimensional reality.

Corey Barker

Lightroom Magazine

AFTER THE SHOOT

87

Organizing a Travel Shoot

LIGHTROOM WORKSHOP

92

Using One-Click Presets (and Making Your Own!)

UNDER THE LOUPE

98

Extend Your Lightroom Workflow with Plug-Ins

MAXIMUM WORKFLOW

104

Palette

LIGHTROOM Q&A

110

LIGHTROOM TIPS & TRICKS

112

KEY CONCEPTS

These icons at the beginning of columns indicate there’s a short video on a tool or function used in that tutorial at the Key Concepts KelbyOne member webpage at http://kelbyone.com/keyconcepts.

How-To

DOWN & DIRTY TRICKS

24

Make Eye-Catching Composites with iPhone Shots

A Brush with the Holidays

32

The Third Dimension

40

46

BEGINNERS’ WORKSHOP

How to Add Artificial Snow to a Photo

54

PHOTOSHOP PROVING GROUND

Retouching Toolkit for Photoshop

76

LIGHT IT

Lighting Frida

Columns

58

PHOTOSHOP TIPS

72

DESIGN MAKEOVER

Avocado Advocacy

80

PHOTOGRAPHY SECRETS

Splash Proof

126

FROM THE HELP DESK

Smart objects Dodge & Burn tools

Quick Selection tool Pen tool Layer masks Lasso tool

DYNAMIC

RANGE

Reviews

114

Painter 2016

115

ParticleShop

Ultimaker 2 Extended

116

EL-Skyport Plus HS

Phottix Laso System

117

17hats

DXT Wireless Mouse 2 – Light Click

118

Cerise Custom Desktop

120

Photoshop Book Reviews

But Wait— There’s More

Scott Kelby’s 10th Annual

Gonzo Holiday Gear Guide

Do you need some gift ideas for the photographer on your Holiday

list? If yes, then you’ve come to the right place. Scott Kelby shares

all the gear, gadgets, software, and services that he just couldn’t live

without in 2015. From stocking stuffers to quadcopters, you’ll find

something to bring tears to the eyes of your friends and loved ones.

Or, you could just keep it all for yourself, but that’s not staying true

to the spirit of the Holidays, right? Right?

Scott Kelby

C ynthia Hollings w or th Kr is K ow ale wski Gene vie ve Gr ov es Mar tin La yout: J essica Maldonado

All lighting diagrams courtesy of Sylights Click this symbol in the magazine to return to the Table of Contents.

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› › pho t o shop user › de cember 2 0 15 006

It’s that time of year, and you know what that means—that’s right, it’s my “10th Annual Gonzo Holiday Gear Guide!” (Wild cheers ensue!) It’s hard to believe this gonzoness has gone on for 10 years, but there’s no sign of the gonzo going away. So, what you hold in your hands—yes, in this very issue—is my handpicked collection of ideas for the creative somebody on your gift list (or, you can use it to drop hints to someone for some goodies you’d like to get this year).

As always, I’ve included everything from inexpensive stocking stuffers to the perfect gift for the rich surgeon or NFL defensive back on your holiday list. The guide starts on page 60, in case you want to get right to the goodies now.

As much as we’d all like the entire magazine to be all about gear and stuff, alas we can’t go without including a bunch of education to round out the year, so here’s a quick look at what’s in this issue: In the “Beginners’ Workshop,” Lesa Snider teaches us how to add falling snow to an image. In our “Dynamic Range” column, our own Corey Barker talks about printing 3D models from Photoshop to a 3D printer (this 3D printing stuff is for real!). In “Photography Secrets,” adventure photographer Tom Bol tells us the secrets to capturing amazing over/under images in warmer waters. And, in our Lightroom Magazine section, RC Concepcion shows us how to organize our travel shots and create a book that we can use in either PDF form or send to a printer—all directly within Lightroom.

Outside the magazine, we have some exciting things going on. By now, many of you have tried our totally new, revamped-from-top-to-bottom member website. It is such a vast improvement from anything we’ve ever been able to offer our members before—the videos play faster and smoother, and the search feature is also faster and so much more refined to help you get to the training you want quicker than ever before. We have a totally reimagined member dashboard that gives us a way to interact directly with you (without having to send you emails), and you’ll always know which classes and which special member discounts are new.

But, all that is just version 1.0 of the new site—the first step. We’re already hard at work on version 1.1, which we’ll be releasing after the first of the year. This will integrate the old PhotoshopUser.com member site with the fantastic new KelbyOne site, so finally we’ll all be on just one site (yay!). But, we’re not going to just move the old features over to the new site—nosireebob. We have created a totally enhanced online member community, which includes new-and-improved member portfolios, online forums, easier access to one-on-one help, and more of the stuff you told us you want from a member organization like ours. More on that when we launch, but I did want you to know that there’s lots of great stuff on the horizon.

We’ve spent the last two years in a transition with one goal in mind: our job is to make your experience as a member more valuable than it was the year before. And, not just through delivering world-class training from the industry’s best instructors, but by delivering a better experience all across the board. We’ve been heads-down, working hard on all this, but while we’ve kept our eyes on the goal, we’ve kept our ears open listening to what members have been asking for, and I’m so proud to finally be able to bring you the experience you expect and you deserve.

We’re very grateful that you’re here with us, and honored that you’ve chosen us as your online educational community and training partner in the coming year. It’s a job we take very seriously, and one we’re 100% committed to being the very best at for our members.

See you next issue!

Scott Kelby

KelbyOne President & CEO Editor & Publisher, Photoshop User

From

the Editor

it’s time for some

cool holiday gifts

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EDITORIAL:

Scott Kelby, Editor-in-Chief Chris Main, Managing Editor Contributing Writers

Ajna Adams • Corey Barker • Peter Bauer • Bruce Bicknell • Tom Bol Pete Collins • RC Concepcion • Michael Corsentino • Seán Duggan Daniel East • Sean McCormack • Rick Sammon • Colin Smith • Lesa Snider • Rob Sylvan • Scott Valentine • Erik Vlietinck • Jake Widman 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) O’Neil, 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.

The official publication of KelbyOne

DECEMBER 2015• Volume 18 • Number 10 • Printed in USA

This seal indicates that all content provided herein is produced by KelbyOne, LLC and follows the most stringent standards for educational resources. KelbyOne is the premier source for instructional books, DVDs, online classes, and live seminars for creative professionals.

All contents ©COPYRIGHT 2015 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

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› › pho t o shop user › de cember 2 0 15 010

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.

BRUCE BICKNELL

is the founder of Digital Blue Productions. He has been an instructor on Adobe’s in-box training, and is an instructor at Sessions.edu. His clients include Time Inc., NFSTC, DTCC, and magazines that include People and National Geographic.

TOM BOL

is an editorial and commercial photographer specializing in adventure sports, portraits, and outdoor lifestyle photography. His images and stories are used worldwide. You can see more of his work at www.tombolphoto.com.

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.

SEÁN 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).

DANIEL EAST

is an author, free lance writer, presenter/trainer, and consultant with more than 20 years’ experience in photography, pro-audio, and marketing. Daniel is also founder and president of The Apple Groups Team support network for user groups.

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.

RICK SAMMON

is a longtime friend of KelbyOne, and he has more than a dozen classes on www.kelbyone.com. Check ’em out! For more of his work, see www.ricksammon.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.

JAKE WIDMAN

is a writer and editor who lives in San Francisco. He’s been covering the intersection of computers and graphic design for about 25 years now—since back when it was called “desktop publishing” and Photoshop was just a piece of scanning software.

P H O T O S H O P ’ S M O S T W A N T E D

› ›

Contributing

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› ›

A B O U T P H O T O S H O P U S E R › › pho t o shop user › de cember 2 0 15 012 A dobe St oc k

Photoshop User

Magazine

Photoshop User magazine is the official publication of

KelbyOne. As a KelbyOne member, you automatically

receive Photoshop User ten times a year. Each issue

features in-depth Photoshop, Lightroom, and

photo-graphy tutorials written by the most talented designers,

photographers, and leading authors in the industry.

KELBYONE

is the world’s 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. There’s 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.

PHOTOSHOP USER MAGAZINE

Ten issues of the best Photoshop tutorial-based magazine in the industry.

MEMBERS-ONLY WEBSITE

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.

MEMBER DISCOUNTS

Save anywhere from 2–4 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.

WEEKLY E-NEWSLETTER

The KelbyOne Insider is your weekly connection to everything KelbyOne. It’s 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 Monday–Friday, 9:00 a.m. to 5:30 p.m. EST.

About KelbyOne

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› › pho t o shop user › de cember 2 0 15 014

› ›

Inspiration, information, and member musings to fuel your creative think tank

BY AJNA ADAMS

KelbyOne Community

It’s a Successful

periscope party

!

Wow! What a party. A Periscope party, that is. On Novem-ber 2, a team of Periscopers joined us in the KelbyOne studios for a simultaneous Periscope broadcast—one of the first of its kind. The event included broadcasts from nine different accounts that have a collective audience of more than 500,000 people! Thousands tuned in, com-mented, and tapped for hearts (it’s a Periscope thing). The result was lots of fun and a handful of winners; we gave away an Arkon mount to @LoriMBS, a handful of Scott Kelby books to several viewers, and a full one-year KelbyOne membership to @GilmarSmith.

Our lineup of broadcasters included: Arkon (www.arkon.com), who sponsored the event; Kim Garst, founder and CEO of Boom Social (http://kimgarst.com); Terry White, principle worldwide design and photography evangelist for Adobe (http://terrywhite.com); and long-time KelbyOne member Victoria Pavlov, who is also featured in this issue’s “Who’s Who in the KelbyOne Community” on page 17. From the KelbyOne team, our broadcasters included KelbyOne president, Scott Kelby; director of content, RC Concepcion; on-air talent, Larry Becker; and KelbyOne social media manager, Ajna Adams (that’s me).

By the way, if you’re not familiar with Periscope, it’s a live-video streaming app for iOS and Android developed by Twitter and launched March 2015. Be sure to follow @KelbyOne and @ScottKelby!

ARTIST SPOTLIGHT › › KENNETH E. FARVER MEMBER SINCE 2003

ARTIST SPOTLIGHT › › CYNTHIA D. HOLLINGSWORTH

MEMBER SINCE 2009 | HTTP://WWW.VIEWBUG.COM/MEMBER/CDHOLLINGSWORTH

Canon Explorers

of light announced

Social media was abuzz when Canon announced its new lineup of Canon Explorers of Light. Many of our KelbyOne members took to social media to congratulate our KelbyOne instructors who made the list, and now it’s our turn. A huge congrats to Peter Hurley, Joel Grimes, David Bergman, Roberto Valenzuela, and Lindsay Adler! We’d also like to congratulate Jimmy Chin and Charles Glatzer who also made the list. For more information on the Canon Explorers of Light Program, visit www.learn.usa.canon.com/explorers_of_light/eol_home.shtml.

Congrats to Newlyweds

tim and angela wallace

Many of you took to Twitter and Facebook to congratulate KelbyOne instructor Tim Wallace on his recent marriage to his beautiful new bride, Angela, in Scotland. Thank you all for your kind tweets and Facebook posts.

#KelbyOneLive

+ tweeting = #winning

We love you all—in real life and on Twitter. If you’ve been to a KelbyOne Live event, you’ll probably notice some of your fellow attendees busy on their phones Tweeting for a chance to win cool stuff during the event. At Scott Kelby’s seminar tours, we give away these awe-some Secret Sauce tour shirts to attendees who post aweawe-some tweets. To learn more about KelbyOne Live, visit http://kelbyone.com/live.

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› › kel b y one .com 017

ARTIST SPOTLIGHT › › KRIS KOWALEWSKI MEMBER SINCE 2009 | HTTP://500PX.COM/KRIS_KO

ARTIST SPOTLIGHT › › KERRIN BURKE LAHR MEMBER SINCE 2012 | WWW.KERRINBURKELAHR.COM

ARTIST SPOTLIGHT › › GENEVIEVE GROVES MARTIN MEMBER SINCE 2008 | WWW.FACEBOOK.COM/GENMARTIN1

Who's Who

in the kelbyone community

Victoria Pavlov is a photographer, digital painter, and designer. Born into a musical family, she started practicing music at age 3, but that didn’t stop her from starting to draw at age 7. At age 15 she had her first big exhibition, where she was surprised by all the “wows” from the people attending.

At age 8 her uncle introduced her to photography. His work inspired her to see how different photography and painting could be. Because of her artistic background, her photography is about telling a story. The technical aspect in her photography is very important to her, so she spent about two years finding the lighting technique that she loves and is happy with.

Introduced to version 1.0 of Adobe Photoshop, it has become her method of communicating and expressing her-self. Victoria says, “I truly believe that with Adobe Photoshop, we can make this world more beautiful with less violence.” What kind of design and photography do you specialize in? Portrait photography, digital painting, and photo manipulation. Tell us about your first experiences with KelbyOne. How and when were you introduced?

I joined KelbyOne about eight years ago (when it was still NAPP). I was using some online graphic design forum and they published a blog about NAPP. I went to the NAPP web-site and fell in love right away. Great source for training and inspiration—and amazing discounts!

How has KelbyOne helped you grow in your creative endeavors?

I believe that if you’re a real professional, you would never say, “I know it all—I don’t need any training.” KelbyOne is always helping me with all my photography and design needs, plus it gives me a lot of inspiration. I would say that KelbyOne is one source for everything in photography and design—from news to training. One stop for all.

We like helpful tips. What is a favorite tip or tutorial that you learned from KelbyOne recently?

I loved the tip from Scott Kelby on how to use Photoshop to create a reflection of your object. [See http://scottkelby .com/its-photoshop-down-dirty-trick-friday-reflection-light-ing-advertising-effect.—Ed.]

Tell us about a favorite course that you’ve watched recently. Why is this one of your favorites?

Location Lighting with the Elinchrom ELB 400 by Scott Kelby. I’m more of a studio photographer, so for me to go out and shoot, well, it’s not what I’m looking to do most of the time. Scott Kelby’s course showed me how I can use my creativity outside my studio.

The stage is yours. Share your proud achievements (both personally and professionally).

Professionally, I’m proud when my students say that I’m their inspiration, and I’m proud to see all my students’ progress after our sessions. Personally, I’m proud of being where I am now after all the difficulties that I’ve had. How do you stay inspired?

Music, movies, and most importantly, people.

If you could photograph any person in the whole world, who would it be and why?

Thomas Knoll. Photoshop is a huge (79%) portion of my life, and I have no idea where I would be now without Photoshop. What would we be surprised to know about you?

Probably that I’m a good cook.

If you could go back and give your younger self advice, what would it be?

If I could, I’d go back and never listen to people when they’re saying that I’m nothing, that everything I’m doing is wrong and not good enough. I would trust my instincts and be myself all the time.

Well, Victoria, we’re glad that you believed in yourself, and we’re proud of what you’ve achieved. If you’d like to be inspired by Victoria’s work, be sure to visit www.pavlov-photography.com. ■ Vict or ia P avlo v

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› › pho t o shop user › de cember 2 0 15 018

200 FIFTH AVENUE NEW YORK, NY 10010

LEGAL RELEASE STATUS

AD APPROVAL

Release has been obtained Legal Coord: Acct Mgmt: Print Prod: Art Director: Proofreader:

Copywriter: Studio:

JOB #: CA4POL-P50792_Gatefold_Base_Front PROOF: 4 CLIENT: Canon USA Inc. OP: KW

SPACE/SIZE: B: 11.75” x 11.125” T: 11.5” x 10.75” S: 11” x 10.25”

DATE:

THIS ADVERTISEMENT PREPARED BY GREY WORLDWIDE CLIENT: Canon USA Inc. SIZE, SPACE: 11.5” x 10.75”, 4C PRODUCT: POLARIS PUBS: Gatefold

JOB#: CA4POL-P50792_Gatefold_Base_Front ISSUE: 2015 ART DIRECTOR: None COPYWRITER: None

To introduce the incredible printing capabilities of the new 17” Canon imagePROGRAF PRO-1000, the first in a new series of our professional-grade printers, we took a look inside a photographer’s obsession. We invited world-renowned photographer Joel Grimes to print one of his most stunning photographs and have it be scrutinized by his toughest critic — himself. Using eye-tracking technology, we mapped every single eye movement of his relentless attention to detail, ultimately proving how obsessed he really is.

BECAUSE IT’S ALL

ABOUT THE DETAILS.

Front

© Joel Grimes S:11” S:10.25” T:11.5” T:10.75” B:11.75” B:11.125” F:7.75” FS:7.25” F:3.75” FS:3.25”

200 FIFTH AVENUE NEW YORK, NY 10010

LEGAL RELEASE STATUS

AD APPROVAL

Release has been obtained Legal Coord: Acct Mgmt: Print Prod: Art Director: Proofreader: Copywriter: Studio: JOB #: CA4POL-P50792_Gatefold_Base_Back PROOF: 7 CLIENT: Canon USA Inc. OP: KW, JS SPACE/SIZE: B: 11.75” x 11.125” T: 11.5” x 10.75” S: 11” x 10.25”

DATE:

THIS ADVERTISEMENT PREPARED BY GREY WORLDWIDE CLIENT: Canon USA Inc. SIZE, SPACE: 11.5” x 10.75”, 4C PRODUCT: POLARIS PUBS: Gatefold

JOB#: CA4POL-P50792_Gatefold_Base_Back ISSUE: 2015 ART DIRECTOR: None COPYWRITER: None

Back

INTRODUCING THE NEW

17” imagePROGRAF PRO-1000

Anti-clogging technology for consistent high quality prints

Stunning shadow reproduction and higher density blacks Remarkably precise and accurate color recreation

usa.canon.com/proprinters

Printed images simulated. © 2015 Canon U.S.A., Inc. Canon and imagePROGRAF are registered trademarks of Canon Inc. in the United States and may be trademarks or registered trademarks in other countries.

ted images simulated. © 2015 Canon U.S.A., Inc. Canon and gePROGRAF are registered trademarks of Canon Inc. in the United gePROGRAF are registered trademarks of Canon Inc in the United

These are the 1,197 eye movements a photographer

made while obsessing over the details.

S:11” S:10.25” T:11.5” T:10.75” B:11.75” B:11.125” F:3.75” FS:3.25” F:7.75” FS:7.25” BY CHRIS MAIN

Exp sed: Industry News

The latest news about photography gear, software, and services

› ›

Mylio is Now Available

for android devices

Mylio—the award-winning software that allows people to organize, edit, protect, access, and share their photos and videos across plat-forms—is now compatible with Android devices. Mylio organizes pho-tos and videos across devices so users can enjoy access to their media library even on space-constrained devices. Those devices include Mac and PC computers, iOS devices, external hard drives, memory cards, and now Android devices.

Consumers can easily view their images by knowing exactly where every photo and video is located. They can enjoy a simplified search and editing process while viewing their media in a unique calendar view or through a slideshow. Photos are now centralized in one place and

auto-matically cataloged based on date, name, and other information associated with each photo and video, quickly and autoauto-matically. Mylio users can also customize folders and create albums based on their preferences.

Mylio is available in three plans. The Basic Plan ($50/year) offers users the ability to sync up to three devices and import up to 50,000 photos. The Standard Plan ($100/year) allows up to five devices to be synced and 100,000 photos to be imported, as well as Lightroom integration and RAW file editing capabilities on desktop, laptop, and tablet devices. The Advanced Plan ($250/year) is perfect for large libraries up to 500,000 images and up to 12 devices. The Advanced Plan includes all Standard Plan features, as well as the ability to back up images from multiple locations. For more information, visit www.mylio.com.

The New Canon imagePROGRAF PRO-1000

professional inkjet printer

Canon recently announced a new 17" large format inkjet printer that is jam-packed with some impressive technological advances. For starters, the imagePROGRAF PRO-1000 has a new print head that improves on the Canon PIXMA PRO-1 printer. The print head is 50% larger and expands the number of nozzles to 18,432 for each of the 12 channels. That means faster print speeds while still maintaining high-resolution prints. A real-time ink ejection system helps keep a consistent print head temperature for consistent ink droplets and to limit clogs.

The imagePROGRAF PRO-1000 uses the new LUCIA PRO 11-color plus Chroma Optimizer ink system. These inks have an increased color

gamut of up to 19% over the PIXMA PRO-1 printer because each pigment has an optimized resin-coating that allows denser droplets to be applied to the media. It also has an improved level of black density for rich, deep blacks and for finer detail in darker areas. Photo black and matte black inks have their own dedicated nozzles so users don’t have to manually switch inks. The new ink system includes matte black, photo black, gray, photo gray, red, blue, magenta, photo magenta, cyan, photo cyan, yellow, and Chroma Optimizer.

According to Canon, “The new processing engine, L-COA PRO, controls the balance of inks and the precise placement of ink drop-lets, carefully calculating best results for each print mode and media using various factors including color reproduction, tonal gradations, black density, graininess, glossiness, anti-bronzing, and elimination of metamerism, all of which contribute to creating an amazing printed image.” Combined with 1 GB of memory, the L-COA PRO allows high-speed processing of large volumes of image data. An Air Feeding System keeps the media flat and even to ensure accurate ink ejection.

The new imagePROGRAF PRO-1000 also comes with Print Studio Pro, a plug-in that works with Adobe Photoshop, Photoshop Elements, Lightroom, and Canon Digital Photo Professional software. This plug-in exports files directly to the printer and has 16-bit processing capabilities so fine details are improved, gradations are smooth, and images can be accurately reproduced. Other software that will be included are the Media Configuration Tool and Accounting Manager.

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200 FIFTH AVENUE NEW YORK, NY 10010

LEGAL RELEASE STATUS

AD APPROVAL

Release has been obtained Legal Coord: Acct Mgmt: Print Prod: Art Director: Proofreader:

Copywriter: Studio:

JOB #: CA4POL-P50792_Gatefold_Base_Front PROOF: 4 CLIENT: Canon USA Inc. OP: KW

SPACE/SIZE: B: 11.75” x 11.125” T: 11.5” x 10.75” S: 11” x 10.25”

DATE:

THIS ADVERTISEMENT PREPARED BY GREY WORLDWIDE CLIENT: Canon USA Inc. SIZE, SPACE: 11.5” x 10.75”, 4C PRODUCT: POLARIS PUBS: Gatefold

JOB#: CA4POL-P50792_Gatefold_Base_Front ISSUE: 2015 ART DIRECTOR: None COPYWRITER: None

To introduce the incredible printing capabilities of the new 17” Canon imagePROGRAF PRO-1000, the first in a new series of our professional-grade printers, we took a look inside a photographer’s obsession. We invited world-renowned photographer Joel Grimes to print one of his most stunning photographs and have it be scrutinized by his toughest critic — himself. Using eye-tracking technology, we mapped every single eye movement of his relentless attention to detail, ultimately proving how obsessed he really is.

BECAUSE IT’S ALL

ABOUT THE DETAILS.

Front

© Joel Grimes S:11” S:10.25” T:11.5” T:10.75” B:11.75” B:11.125” F:7.75” FS:7.25” F:3.75” FS:3.25”

200 FIFTH AVENUE NEW YORK, NY 10010

LEGAL RELEASE STATUS

AD APPROVAL

Release has been obtained Legal Coord: Acct Mgmt: Print Prod: Art Director: Proofreader: Copywriter: Studio: JOB #: CA4POL-P50792_Gatefold_Base_Front PROOF: 4 CLIENT: Canon USA Inc. OP: KW

SPACE/SIZE: B: 11.75” x 11.125” T: 11.5” x 10.75” S: 11” x 10.25”

DATE:

THIS ADVERTISEMENT PREPARED BY GREY WORLDWIDE CLIENT: Canon USA Inc. SIZE, SPACE: 11.5” x 10.75”, 4C PRODUCT: POLARIS PUBS: Gatefold

JOB#: CA4POL-P50792_Gatefold_Base_Front ISSUE: 2015 ART DIRECTOR: None COPYWRITER: None

To introduce the incredible printing capabilities of the new 17” Canon imagePROGRAF PRO-1000, the first in a new series of our professional-grade printers, we took a look inside a photographer’s obsession. We invited world-renowned photographer Joel Grimes to print one of his most stunning photographs and have it be scrutinized by his toughest critic — himself. Using eye-tracking technology, we mapped every single eye movement of his relentless attention to detail, ultimately proving how obsessed he really is.

BECAUSE IT’S ALL

ABOUT THE DETAILS.

Front

© Joel Grimes S:11” S:10.25” T:11.5” T:10.75” B:11.75” B:11.125” F:7.75” FS:7.25” F:3.75” FS:3.25”

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› › kel b y one .com 023

200 FIFTH AVENUE NEW YORK, NY 10010

LEGAL RELEASE STATUS

AD APPROVAL

Release has been obtained Legal Coord: Acct Mgmt: Print Prod: Art Director: Proofreader:

Copywriter: Studio:

JOB #: CA4POL-P50792_Gatefold_Base_Back PROOF: 7 CLIENT: Canon USA Inc. OP: KW, JS SPACE/SIZE: B: 11.75” x 11.125” T: 11.5” x 10.75” S: 11” x 10.25”

DATE:

THIS ADVERTISEMENT PREPARED BY GREY WORLDWIDE CLIENT: Canon USA Inc. SIZE, SPACE: 11.5” x 10.75”, 4C PRODUCT: POLARIS PUBS: Gatefold

JOB#: CA4POL-P50792_Gatefold_Base_Back ISSUE: 2015 ART DIRECTOR: None COPYWRITER: None

Back

INTRODUCING THE NEW

17” imagePROGRAF PRO-1000

Anti-clogging technology for consistent high quality prints

Stunning shadow reproduction and higher density blacks Remarkably precise and accurate color recreation

usa.canon.com/proprinters

Printed images simulated. © 2015 Canon U.S.A., Inc. Canon and imagePROGRAF are registered trademarks of Canon Inc. in the United States and may be trademarks or registered trademarks in other countries.

ted images simulated. © 2015 Canon U.S.A., Inc. Canon and gePROGRAF are registered trademarks of Canon Inc. in the United gePROGRAF are registered trademarks of Canon Inc in the United

These are the 1,197 eye movements a photographer

made while obsessing over the details.

S:11” S:10.25” T:11.5” T:10.75” B:11.75” B:11.125” F:3.75” FS:3.25” F:7.75” FS:7.25”

› ›

e x p o s e d : i n d u s t r y n e w s

Epson Introduces

new printer and papers

Epson recently announced the SureColor P400, a 13" desktop photo printer that uses Epson’s UtraChrome HG2 pigment inks. This set of inks uses eight colors, including Red and Orange for deeper reds and richer skin tones. It also has dedicated channels for both Matte and Photo Black inks, which the printer will select automatically.

The MicroPiezo AMC 1" wide print head with a 1.5 pl minimum droplet size and ink-repelling coating provides more accurate dot placement and reduced maintenance. The SureColor P400 also features enhanced AccuPhoto HD imaging technology and a unique Gloss Optimizer to produce consistent output with smooth

gradations and better highlight and shadow detail for exhibition-quality prints with a professional-lab look and feel.

Advanced media handling, including a front-in and front-out paper path, enables borderless photos up to 13 x19" on a wide variety of glossy, matte, and fine-art papers, while improved roll paper support allows for panoramas more than 10' long. In addi-tion, custom images can be created and printed directly onto canvas, art boards, and CD/DVDs. The printer also offers connectivity via USB, Wireless n1, Wi-Fi Direct, or Ethernet. Designed for photography enthusiasts, advanced amateur photographers, and creative hobbyists, the Epson SureColor P400 is available now for an MSRP of $599.

At the recent PhotoPlus Expo in New York, Epson also introduced Epson Legacy Papers, their most advanced line of photo-graphic papers. They worked closely with the world’s greatest artists, revered European papermakers, galleries, and chemical engineers to develop these papers for artists who intend to exhibit and sell their prints. Here’s a rundown from Epson of the first four Legacy Papers to be announced: Legacy Platine—100% cotton fiber paper with a bright OBA-free, smooth satin finish. With a unique feel of an artistic paper of centuries past, along with an outstanding color gamut, this paper is exceptional for both color and black-and-white printmaking. Legacy Fibre—100% cotton fiber paper with an exceptionally bright OBA-free, smooth matte finish. With an outstanding black density, this paper is ideal for all types of high-end printmaking. Legacy Baryta:—A baryta paper with a white, smooth satin finish, using two barium sulfate coatings. Inspired by the F64 group, this paper takes the best of revered silver halide technology to new levels of quality. Legacy Etching—100% cotton fiber paper with a bright OBA-free, uniquely textured matte finish beloved by artists for centuries. This paper has the feel of traditional etching papers.

For more information on the Epson SureColor P400 and the new Legacy Papers, visit www.proimaging.epson.com. ■

Athentech Imaging

announces lucid

Athentech Imaging, the makers of the Perfectly Clear Plug-ins, has announced Lucid for iOS and Desktop (Windows and Mac). Perfectly Clear is an amazingly powerful application for pros and licensing for busi-nesses that can instantly fix a multitude of imperfec-tions in photographs. This application has some serious science behind it. We’re talking 14 years of R&D along with 20 unique algorithms and multiple patented pro-cesses. So it was only natural that Athentech wanted to bring this technology to the everyday photographer in the form of Lucid.

Lucid is designed to counteract a camera’s limitations, so with one click it will bring out the colors and light that you remembered when you took the shot. It also includes powerful presets, such as Beautify, to make everyone look their very best in every photo— no editing expertise or extra work required.

“We all want great-looking photographs; a chance to capture a memory and then share it with others,” says Brad Malcolm, president of Athentech Imaging. “But frequently your smartphone or camera doesn’t quite get the job done. Lucid does the work for you so you can focus on the fun part of photography. We want you to enjoy capturing the best moments instead of spending your time tossing on filters and adjusting countless sliders and buttons. It simply improves photos in an instant and lets you rescue the shots you used to delete.”

Lucid is available now at the App Store for only $2.99. Lucid Desktop for Mac and Windows is available at www.hellolucid.com

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H O W T O › › › › D O W N A N D D I R T Y T R I C K S › › kel b y one .com 025

Step One:

Start by opening the shot you want to use, or if you’re a KelbyOne mem-ber, you can download the image we’re using here. This was captured shortly after taking off from Las Vegas in the middle of the day, so it looks pretty bad and would be considered useless by most. Or is it?

[KelbyOne members may download the files used in this

tutorial at http://kelbyone.com/magazine/issue/december_2015. All files are for personal use only.]

Step Two:

First, let’s “dehaze” the photo. Go to the Filter menu and choose Camera Raw Filter. When the Camera Raw dialog opens, click on the Effects (ƒx) tab below the histogram, and you’ll see the Dehaze slider. Drag it to around 75%. Don’t click OK yet.

Step Three:

Now go to the Basic panel, which is the very first tab. Dial down the Exposure setting to about –0.30. Then boost the Contrast to around 25. Now click OK.

Step Four:

Once back in Photoshop, make a duplicate of the Background layer by pressing Command-J (PC: Ctrl-J). Near the top of the Layers panel, change the blend mode of the duplicate layer to Multiply, and drop the Opacity to 50%.

Step Five:

Click the Create New Adjustment Layer icon (half-white, half-black circle) at the bottom of the Layers panel and choose Hue/Saturation. In the Properties panel, drop the Satura-tion to around –25%. This will adjust for the slight oversaturaSatura-tion of color created by the last few steps; however, it also dials back the contrast just a little.

Step Six:

To fix the con-trast, go back into the Cre-ate New Adjustment Layer menu at the bottom of the Layers panel and choose Levels. Make sure this adjustment layer is at the top of the layer stack in the Layers panel. Change the layer blend mode to Overlay and drop the layer Opacity to 25%. Then, adjust the shadow and midtone sliders

as you see here to bring back some of the contrast.

Step Six

Step Four Step Five Step Three

Step Two

&

Down

Dirty

Tricks

I was flying home from Las Vegas a couple of months ago and I was

intrigued by the view of the desert outside my window, so I grabbed a

few shots with my iPhone. I wasn’t all that thrilled with what I initially

shot, but I knew there was something there. Join me and see how to

turn a seemingly bad shot into something much more interesting

with a few Photoshop tricks.

make eye-catching composites

with iphone shots

B Y C O R E Y B A R K E R

C

or

ey Bar

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› › kel b y one .com 027 › › D O W N A N D D I R T Y T R I C K S D O W N A N D D I R T Y T R I C K S › › › › pho t o shop user › de cember 2 0 15 026

Step Seven:

Now cre-ate a new document (File>New) in which to build the design. Here we’ve made it 1250 pixels wide by 2000 pixels tall at 300 ppi. Click OK. Once the

document is created, press Command-I (PC: Ctrl-I) to invert the background layer to black.

Step Eight:

Go back to the original image, and click on the top layer to make it active. Hold down the Option (PC: Alt) key, go into the Layer panel’s flyout menu at the top right, and choose Merge Visible. This will flatten all the layers into a single new layer at the top of the layer stack, leaving all the original layers intact below it.

Step Nine:

Using the Move tool (V), drag-and-drop this merged layer into the new document. Once there, press Command-T (PC: Ctrl-T) to activate Free Transform. Press Command-0 (PC: Ctrl-0) to expand the document so you can see the entire trans-form box. I wanted to make sure that no roads or trails were visible in the shot so I cropped in and positioned it to where the massive dry lake bed was somewhat centered in the composi-tion. Also, leave about a quarter of the black background visible above the image. Press Enter once it’s in place.

Step Ten:

Add a layer mask to this layer by clicking the Add Layer Mask icon (circle in a square) at the bottom of the Layers panel. Press D then X to set the Foreground color to black and the Back-ground color to white. Then, select the Gradient tool (G), click the gradient preview thumbnail in the Options Bar to open the Gradient Editor, choose the Foreground to Background preset, and click OK. Also, make sure the Linear Gradient icon is selected in the Options Bar. Now add a gradient to the layer mask starting just below the top edge of the sky and dragging down a little ways so the lighter horizon fades into the black background.

Step Eleven:

Now open the starfield image that’s also part of the exercise downloads. Drag this image into the main design. Use Free Transform again to scale and position the image in the composition. As a happy accident, there was one bright star or even a planet in the image. That gave me an idea, so I decided to position the stars to where the bright spot was in the center just above the horizon of the Earth shot.

Step Twelve:

Next, add a layer mask to this layer and add a black-to-white gradient to the mask just like we did in Step Ten, only this time start the gradient at the bottom edge of the star image and drag up so the original blue-sky horizon below

appears to fade into the stars. I could never get this shot from the plane, huh?

Also, click on the layer thumbnail of the star layer to make it active and run a simple Levels adjustment (Command-L [PC: Ctrl-L]) as shown here to boost the contrast so the star image blends with the ground scene a little better.

Step Thirteen:

Now let’s take a look at the bright spot in the cen-ter. It occurred to me that it would be interesting to make it look like a rocket leaving Earth with smoke trails and such. So start by going to the Toolbox and choosing the Brush tool (B). Click on the brush preview thumbnail in the Options Bar to open the Brush Preset Picker and locate the brush that’s aptly named Per Stroke Brightness Variance, which is part of the default Photoshop brush set.

Step Fourteen:

Open the Brush panel (Window>Brush), and click on Brush Tip Shape in the left sidebar. Set the brush Size to 35 px and the Spacing at the bottom to 37%.

Step Fifteen:

Activate Shape Dynamics on the left of the Brush panel. Set both the Size Jitter and the Angle Jitter to 100%. Also, check on both Flip X Jitter and Flip Y Jitter at the bottom.

Step Sixteen:

Next, activate Transfer. Set the Control drop-down menu below Opacity Jitter to Pen Pressure, even if you’re not using a pressure-sensitive tablet. Make sure that the Control drop-down menu for Flow Jitter is set to Off, and then uncheck Color Dynamics on the left side of the panel.

Step Seventeen:

Choose the Pen tool (P) in the Toolbox. Click the Create a New Layer icon at the bottom of the Layers panel, and click directly on the bright start to start a path. Then, go down and to the right just below the horizon and click-and-drag downward to create a slightly curved path like you see here.

Step Eighteen:

Open the Paths panel (Window>Paths), click on the flyout menu at the top right, and choose Stroke Path. When the Stroke Path dialog appears, select Brush in the Tool drop-down menu, check on Simulate Pressure, and click OK. Now you have a cool smoke trail. In the Paths panel, click in an empty space below the path so that it’s no longer active in the document.

Step Nineteen:

To give the smoke a little dimension, we’re going to add a layer style effect. Click on the Add a Layer Style icon (ƒx) at bottom of the Layers panel and choose Bevel & Emboss. The default settings should work fine for this. You can see the difference when you uncheck Preview on the right side of the dialog. Click OK when done.

Step Twelve ©A dobe St oc k/sutichak Step Eight Step Ten Step Nine Step Eleven Step Thirteen Step Fifteen Step Fourteen Step Eighteen Step Seventeen Step Nineteen Step Sixteen

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D O W N A N D D I R T Y T R I C K S › › › › pho t o shop user › de cember 2 0 15 028

Step Twenty:

Now let’s add a flare to the rocket ship. I’ve pro-vided a flare brush as part of the downloads for you to load and use for this effect. Just double-click the brush file and it will automatically load into the Brush Preset Picker. Go into the Brush Preset Picker, choose the flare brush at the very bottom of the list, and set its Size to around 500 px. Set the Foreground color to white by pressing D then X. Create a new blank layer and then just dab one flare on top of the bright star.

Step Twenty-One:

Go back into the layer style menu at the bottom of the Layers panel and choose Outer Glow. Click on the color swatch, choose a blue color, and click OK to close the Color Picker. Set the Blend Mode to Hard Light and then set the Opacity to 70%. Also, set the Size to around 27 px, and click OK.

Step Twenty-Two:

Add another blank layer and make sure it’s at the top of the layer stack. Grab the Pen tool again and draw a single curved path like we did earlier, but this time make it curve in the opposite direction as the previous path, and draw it way above the star/rocket effect.

Step Twenty-Three:

With the Brush tool selected, go into the Brush Preset Picker, choose a basic round, hard-edged brush, and set its Size to 1 px. In the Brush panel, activate Shape Dynamics, and set the Size Jitter Control drop-down menu to Pen Pressure. Apply this new brush to the path just like we did in Step Eigh-teen. This will add a subtle shooting-star effect.

Step Twenty-Four:

Now, just add one more layer at the top. Choose the Gradient tool and select the Foreground to Trans-parent preset in the Gradient Editor. Also, leave the gradi-ent type set to Linear. Start at the top edge of the image and drag down just a bit to fade the top to black. Finally, drop the layer Opacity to 50% and you’re done.

When I first created this effect, I was so pleased with it that I made it the wallpaper on my phone, and it looks amazing. What can you do with your throwaway shots? ■

Step Twenty-One Step Twenty

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H O W T O › › › › D O W N A N D D I R T Y T R I C K S › › kel b y one .com 033 Step One: Open a new document (File>New) that’s

3,000x900 pixels at 300 ppi Resolution, with a white back-ground, and click the Create a New Layer icon. We’re going to create a base shape that will be the foundation of all our holiday brushes.

Step Two: Grab the Custom Shape tool (nested under the Rectangle tool [U] in the Toolbox), and then up in the Options Bar, click on the Shape preview thumbnail to open the Cus-tom Shape Picker. In the top-right corner of that panel, click on the little gear icon and choose All from the drop-down menu, and click OK in the resulting dialog. Now you should see all of the shapes. Choose the Diamond Card shape from somewhere near the middle of the shapes. Also, make sure the Custom Shape tool is set for Pixels (instead of Shape or Path) in the drop-down menu near the left side of the Options Bar, and press D to set your Foreground color to black.

Step Three: Now that you have the Diamond Card shape ready to go, click on the left-hand side of your document and drag across the page to the other side to make more of a thin javelin shape rather than a diamond. Click on the Add Layer Mask icon at the bottom of the Layers panel (third icon from the left) to apply a mask. Grab the Gradient tool (G), press D then X to set the Foreground color to black, and in the Options Bar, select the Reflected Gradient icon, and check on the Reverse box. Now, simply start in the middle of the shape, drag a gradient out to the right edge of the document, and release. This should cause the ends of the javelin to be a soft fade instead of a hard point.

Step Four: In the Layers panel, click on the layer thumbnail for the javelin shape so the layer mask is no longer active. Now all you need to do is go to Edit>Define Brush Preset. Feel free to name it if you want, and then click OK. That’s all it takes to make this brush. Now the fun part is getting the brush to behave how you want, and we’ll be making three brushes from this base shape.

Step Two

Step Four Step Three

&

Down

Dirty

Tricks

For this Holiday season, we thought we’d give you a gift that will

keep on giving all year long. This brush will be simple to make, but it

can give you myriad looks. You’ll have three different styles of brush

when we’re done, but that will just be the starting point for what you

can do with this brush.

a brush with the holidays

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› › D O W N A N D D I R T Y T R I C K S D O W N A N D D I R T Y T R I C K S › › › › pho t o shop user › de cember 2 0 15 034 › › kel b y one .com 035 Step Five: With the Brush tool (B) selected, click on the Brush

panel icon (the third icon from the left) in the Options Bar. This is where the magic happens. The main options that you’ll want to change for this brush are under Shape Dynam-ics, the second item in the list on the left side of the Brush panel. Here, you’ll see several Jitter options. Jitter is another name for randomize, so that means the more Size Jitter you apply, the more diverse sizes will be created as you draw out a stroke. You can see the changes taking place in the preview window at the bottom of the Brush panel.

Step Six: Set the Shape Dynamics as follows: Size Jitter to 100% (set the Control drop-down menu to Pen Pressure if you have a tablet; set it to Off if you don’t); Minimum Diameter to 25%; Angle Jitter to 100% (Control set to Off); Roundness Jitter to 100% (Control set to Off); and Minimum Roundness to 25%.

Step Seven: To save all of the settings you’ve applied, click on the flyout menu at the top-right corner of the Brush panel and select New Brush Preset. Name it “Flare,” and click OK. Now press D then X to set your brush to white and, keeping your cursor in the same location, click twice or more wher-ever you want a bit of flare. The Angle Jitter will cause the shape to rotate so that the stroke will have a random look each time you click.

Step Eight: So now that you’ve warmed up with the Flare brush, it’s just a matter of adding a couple settings to get an entirely different look. Starting with the Flare brush you just made, open the Brush panel again. Keep everything the same, but now go to Scattering, the third item on the left. Make sure that Both Axes is checked on and move the slider to 498%. (Yes, you can do 500% if the random number bothers you.)

Step Nine: That’s it, now you just need to save that brush like you did the Flare brush. Maybe name it “Ice Cracks.” Take that brush and set it to white and paint with it in any area where you might want to add a touch of frost; the brush will scatter outward and give you a complex random pattern that looks cool.

Step Ten: This last brush is the most complex, but it really adds only a couple of extra settings. In the Brush Presets panel (Window>Brush Presets), click once again on your Flare brush to use as the base (it should be the second to last brush in the list). Back in the Brush panel, we’ll once again start with the Shape Dynamics (this is generally the most-used tab). Change the settings to the following: Size Jitter to 100% (Control drop-down menu to Pen Pressure or Off); Minimum Diameter to 75%; Angle Jitter to 100% (Control set to Off); Roundness Jitter to 100% (Control set to Off); and Minimum Roundness to 25%.

Step Eleven: Now you’ll want to give your garland brush some color, so click on the Foreground color swatch near the bottom of the Toolbox, pick the darkest shade of green that you want to use for your garland, and click OK to close the Color Picker. Now click on the Background color swatch and choose the lightest green that you want to use for your gar-land. We’ll use the Color Dynamics options on the left side of the Brush panel to set up the brush so it uses those colors as reference when it lays down each needle of the garland. Change your settings to the following: check on Apply Per Tip; set Foreground/Background Jitter to 19% (Control set to Off); Hue Jitter to 31%; Saturation Jitter to 56%; Brightness Jitter to 29%; and Purity to 0%.

Step Twelve: Test your stroke and see how the colors change for each “needle” of the garland; you can adjust the sliders or change the Foreground and Background colors to get a different look. (Tip: Use the Bracket keys on your keyboard to quickly change the size of the brush.) Now the only thing left is to decide how full or skimpy the garland is going to be. Go to the Brush Tip Shape options at the top left of the Brush panel and move the Spacing slider around and try different strokes—the less spacing the fuller the garland. Once again, save this as a brush preset. You can name this one “garland.” Step Thirteen: So now that we have our three brushes, let’s try them out. If you’re a KelbyOne member, download and open the practice file. Click the Create a New Layer icon at the bottom of the Layers panel. Choose the Flare brush, hold the Option (PC: Alt) key, and click to sample the color of an area that could use a little sparkle. That color will now be the color for the Flare brush. Resize the brush as needed and click multiple times on that same area. The Christmas lights through the window are an easy choice. Repeat for other areas in the image (don’t forget to Option-click [PC: Alt-click] each time to sample the color first).

[KelbyOne members may download the file used in this

tuto-rial at http://kelbyone.com/magazine/issue/december_2015. All files are for personal use only.]

Step Nine

Step Six Step Ten Step Eleven

Step Seven

Step Eight

Step Thirteen Step Twelve

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› › pho t o shop user › de cember 2 0 15 036 D O W N A N D D I R T Y T R I C K S › › Before After

Step Fourteen: Now switch to your Ice Cracks brush, and set it to a very small brush size. On another new layer, paint with white around the windowpanes to add some frost. You can always lower the Opacity, as well as add a layer mask and use a round, soft-edged brush set to black to paint out any “overspray” of the ice on the window frame. Step Fifteen: Now, let’s add the Garland. Add another new layer, and once again set your Foreground and Background colors to a dark green and a slightly lighter green, respec-tively. Start at the top, and drag down so that you finish with a clean stroke. If the stroke looks too thin, either press Com-mand-Z (PC: Ctrl-Z) to undo it, decrease the Spacing in the Brush panel, and paint the stroke again; or press Command-J (PC: Ctrl-J) to make a copy of that stroke layer, and use the Move tool (V) to move it over slightly to make it fluffier. A Layer>Layer Style>Drop Shadow can be the finishing touch that helps settle the garland into the scene. Use a layer mask to hide the garland from areas where you don’t want it, such as over the ornament closest to the window. You may also need to drag your flare layer to the top of the layer stack. That’s it! You’ve made three useful brushes in no time and hopefully, you’re excited about playing with the different set-tings to create your own looks. We only tackled a few of the brush options, but they’re some of the main settings that you’ll use most often. In the final image here, we added some extra flares and blurred them for snow. Try adding some more settings from the Brush panel and see how they change things. Above all else, have fun and be creative. ■

Step Fourteen

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H O W T O › › › › D O W N A N D D I R T Y T R I C K S › › kel b y one .com 041

Step One: You’re going to want to create a new document for

this project, so go to File>New. If you’re using your own vector files, the file size for this example is 5400x4200 pixels at 300 ppi. The reason for creating a large document is that it’s always easier to shrink a large image, but things get blurry when you try to increase the image size after the fact. This will create a document that can be printed at 18x14" at 300ppi with no degradation of image quality. If you’re a KelbyOne member and you’re using the low-res practice file, or you just don’t need to work that large, then you’ll need to scale down accordingly, so set your new image size to 800x600 pixels instead. We want the Background layer filled with black, so to avoid having to fill the background later, click on the color swatch to the right of the Background Contents drop-down menu in the New dialog, select black in the Color Picker, and click OK twice. (Note: If you’re using the practice file, you can skip to Step Three at this point.)

[KelbyOne members may download the file used in this

tuto-rial at http://kelbyone.com/magazine/issue/december_2015.

All files are for personal use only.]

Step Two: The file with the symbols was originally in the EPS

format, so it took an extra step to open it in Photoshop. If you’re using your own EPS file, locate it in Adobe Bridge, Right-click on it, and choose Open With>Adobe Photoshop [your latest version]. The great thing about an EPS file is that you can size it up as large as you want, so when the Rasterize EPS Format panel appears, make the dimensions way bigger than you think you need. In this example, we set it to 6000x6000 pixels. Once the file opens, you’ll see a transparent background (checkerboard) and that can be distracting, so click the Create a New Layer icon at the bottom of the Layers panel, drag this layer beneath the symbols layer, press D to set your default colors, and press Command-Delete (PC: Ctrl-Backspace) to fill the new layer with white.

Step Three: Once the symbols are on a white background, you

can see that there’s a faint blue grid pattern behind them (most EPS files won’t have this, but this is a good teaching opportunity). You can either try to mask out any of these lines that get in the way, or you can use this faster method. Go to Select>Color Range in the Menu bar, and the Color Range dialog will open. In the doc-ument window, click on one of the black lines that make up one of the symbols (you may need to press Command-+ [PC: Ctrl-+] to zoom into your document). When you do this, the thumb-nail preview in the Color Range dialog changes to show what’s selected in white. Slide the Fuzziness slider to around 166 so that

all of the symbols are selected. Step Three

Step One

Step Two

&

Down

Dirty

Tricks

By taking a few scientific symbols and equations and adding a little

Photoshop magic, you can create a wonderful environment full of

depth and drama. The end product seems complex, but the steps to

achieve the look are really quite simple.

the third dimension

B Y P E T E C O L L I N S

©A

dobe St

oc

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› › D O W N A N D D I R T Y T R I C K S D O W N A N D D I R T Y T R I C K S › › › › pho t o shop user › de cember 2 0 15 042 › › kel b y one .com 043 This may be a little trickier for the low-res practice file. If all of

the symbols aren’t selected, hold the Shift key and you’ll see a + symbol appear next to the Eyedropper (which is your cursor). Click on various shades of gray to add them to the selection. If this selects the blue grid lines or any of the white background, hold the Option (PC: Alt) key (the + will change to a – [minus sign] next to the Eyedropper) and click on one of the blue lines and the white background to remove them from the selection.

Once all the symbols appear in white on a solid black back-ground in the Color Range dialog, click OK. You should now see marching ants just around the symbols and not the grid. Press Command-J (PC: Ctrl-J) to copy the symbols onto their own layer. Hide the original symbol layer by poking the Eye icon to the left of it in the Layers panel.

Step Four: The symbols are black and we want them to be white,

so press Command-I (PC Ctrl-I) to invert them, then click on the layer filled with white at the bottom of the layer stack, and invert that, as well. The end result is just a little blah, so click back on the duplicated symbol layer, press Command-L (PC: Ctrl-L) to bring up the Levels dialog, and drag the highlight and midtone sliders toward the left to boost the contrast and up the white factor. Click OK.

Step Five: Your symbols are ready to be put to use, so grab

your Lasso tool (L) and draw a selection around one of the equa-tions. Press Command-J (PC: Ctrl-J) to put a copy of this symbol on its own layer. Now grab that equation with the Move tool (V) and drag it to the new black background document we created in Step One. (Tip: If you hold down the Shift key while dragging-and-dropping the equation, it will land right in the center of the document.) Now before you do anything else to this equa-tion, Right-click on its layer name in the Layers panel and choose Convert to Smart Object from the drop-down menu. This will give us more flexibility if we need to make changes later.

Step Six: With the new smart object layer chosen, press

Com-mand-T (PC: Ctrl-T) to bring up the Free Transform handles. Right-click on the image and choose Perspective from the options. Now grab the bottom-left handle and pull downward. Both the top- and bottom-left corners will be pulled out so the equation no longer looks like it’s facing flat in front of you, but now appears as if it’s receding at an angle. Distort is the other option in the drop-down menu that you could use, but because you have to adjust each corner individually, most folks get along better with Perspec-tive. It’s up to you. Press Enter to commit the transformation.

Step Seven: Here’s the secret sauce recipe for making this

equa-tion look like it’s interacting with depth of field, sort of like a giant HUD (heads-up display) from Iron Man. Choose Filter>Blur Gallery>Tilt-Shift to bring up the Blur Gallery interface already loaded with the Tilt-Shift filter. We’re only using one half of the filter for this image, so move your cursor to one of the white dots on one of the solid white lines, and click-and-drag to rotate all the lines until they’re vertical. Then, move the center point just to the right end of the equation. You’ll notice that the right edge of the equation is in focus between the solid white line and the center point. Your goal is to get a smooth transition from full blur on the left to in-focus on the right, so drag the solid white line (transition line that sets the progression of blur) and the dotted line (full blur boundary line) into position as shown here. The blur will be too strong in the low-res practice file, so set the Blur to 3 px in the Blur Tools panel. Press Enter to commit the blur.

Step Eight: Using the Move tool, drag the symbol closer to the

left edge of the document. Dropping the Opacity in the Layers panel to about 95% and adding a slight gradient mask to the left side of the equation will help it settle into its “space” a little more. To add a gradient mask, click on the Add Layer Mask icon (circle in a square) at the bottom of the Layers panel, press D then X to set the Foreground color to black, select the Gradient tool (G), click on the gradient thumbnail in the Options Bar to open the Gradient Editor, choose the Foreground to Transparent preset, click OK, select the Linear Gradient icon in the Options Bar, and then drag from the left edge of the document to the middle of the symbol. Step Four Step Five Step Seven Step Eight Step Six

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› › pho t o shop user › de cember 2 0 15 044 D O W N A N D D I R T Y T R I C K S › ›

Step Nine: Now you can repeat the process with a new equation

or symbol. We used Distort on this second one to make it look like it was angling in from the top-right corner, and then we applied the Tilt-Shift filter right in the middle so that both the top and bottom edges were blurry.

Step Ten: Now it’s just a matter of putting in all of the elements

you want and blurring each of them to look the part. How much and where to blur is going to be driven by where the symbols fall within the scene. The goal is to create a cocoon of clarity in the center of the image while having all of the edges fading into blurriness. This may take a little bit of tweaking, but because each layer is a smart object, you can double-click on the words “Blur Gallery” in the Layers panel and redo the blur for any layer at any time.

Step Eleven: If you’ve been successful in working the symbols,

then it should be easy to drop a person or other element into that cocoon of clarity and make him the center of the story. In this example, we masked out a couple of the lines over where his hand sticks out to add to the interaction. Finally, to round out the picture, grab a nice debris image, place it on top of all of the other layers, and set it to Hard Light in the Layers panel (the image we used was from Adobe Stock and it was called “blue shiny bokeh background”). This will give the eye of the viewer a reason to accept the wonky depth of field and not be so critical if there are any inconsistencies (an old compositor’s trick).

So there you have it—distort a few symbols to change their per-spective, add a little blur, and you’re done. It took longer to write this article than it will take for you to get the hang of this tech-nique. It’s a great go-to design option that can take you from stuck to styling in no time. Instead of symbols, try leaves, flowers, rain, etc.; the possibilities are endless. ■

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