Photoshop User 2018 02
Photoshop User 2018 02
Photoshop User 2018 02
IT’S TIME TO
STOP THE
DESTRUCTION
A nondestructive workflow
is not only about flexibility,
it’s also about accuracy,
efficiency, and creativity
Watch What’s Trending on the
KelbyOne Channel!
Photo Tip Friday: Moose Peterson Photo Tip Friday: Kalebra Kelby
“New Camera” “Opening Your iPhone Camera Quickly”
their minds all the time, so it’s important to be able to quickly and efficiently change files that you’ve
already edited. If you’ve used destructive methods, such as erase and delete, you’re probably look-
ing at a lot of sleepless nights making changes to keep those clients happy. But did you know that
a nondestructive workflow can also greatly increase your accuracy when making edits, as well as
boost your creativity? Well, you will once you read Dave Cross’s article. So turn to this issue’s cover
story, and stop being destructive!
©Adobe Stock
Kirk Nelson
[024] [036]
HOW TO
DEPARTMENTS
[007]
A NOTE FROM SCOTT
[024] DOWN & DIRTY TRICKS
[009] Silhouette Design with Vintage Texture Effects
CONTRIBUTORS
[036] DOWN & DIRTY TRICKS
How to Create a Miniature Scene
[010]
BENEFIT SPOTLIGHT
[046] BEGINNERS’ WORKSHOP
Changing Colors with Adjustment Layers
[012]
KELBYONE COMMUNITY [050] RETOUCHING MAGIC
Nondestructive Editing for the Portrait Photographer
[020]
HEARD ON THE TWEET [080] DESIGNING WITH PHOTOSHOP
Eighteen Photoshop Tips for 2018
[022]
NEW ONLINE TRAINING
[102]
COLUMNS
FROM THE HELP DESK
[054] PHOTOSHOP PROVING GROUND
Tech Preview:Symmetry Painting
Click this symbol in the nav bar at the top [100] PHOTOSHOP TIPS
of the online reader to access the Contents. Boost Your Productivity and Creativity
Scott Valentine
Kristina Sherk
[050] [054]
KelbyOne Members
Receive Exclusive Discounts
The
Professional’s
Source
TM
877-885-1911
Speak to a Sales Associate
or consult with Live Chat online
www.BandH.com
Shop conveniently online
NYC DCA Electronics Store Lic.#0906712; NYC DCA Electronics & Home Appliance Service Dealer Lic. #0907905;
NYC DCA Secondhand Dealer – General Lic. #0907906 © 2016 B & H Foto & Electronics Corp. JN150613
› › FROM THE EDITOR
AN OFFICIAL PUBLICATION OF
EDITORIAL:
Scott Kelby, Editor-in-Chief
Chris Main, Managing Editor
Kim Doty, Associate Editor
CONTRIBUTING WRITERS:
Corey Barker • Peter Bauer • Dave Clayton • Michael Corsentino
Dave Cross • Kirk Nelson • Kristina Sherk • Colin Smith • Lesa Snider
Scott Valentine • Erik Vlietinck • Jake Widman
GRAPHICS:
Jessica Maldonado, Art Director
Margie Rosenstein, Senior Graphic Designer
Angela Naymick, Senior Web/Graphic Designer
MARKETING:
Jacque Johnson • Rachel Scott • Kleber Stephenson
John Warwick • Melissa White
WEB:
Adam Frick • Curt Husting • Yojance Rabelo • Aaron Westgate
PUBLISHING:
Scott Kelby, Publisher
Kalebra Kelby, Executive V.P.
Jean A. Kendra, Business Manager
ADVERTISING:
Jeanne Jilleba, Advertising Coordinator 800-201-7323 ext. 152
All contents ©COPYRIGHT 2018 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 2470-7031 (online)
DAVECROSS
has been helping people get the most out of their Adobe software for
more than 30 years. He has a bachelor of education degree, is an Adobe
Certified Instructor, and is in the Photoshop Hall of Fame. Dave has
written many articles and books, co-hosted Photoshop User TV and has
appeared in many DVDs and online courses for KelbyOne, CreativeLive, and
Photoshop.
CONTRIBUTORS
COREYBARKER COLINSMITH
is an award-winning designer and illustrator. A featured instructor is an award-winning digital artist, photographer, and lecturer
at the Photoshop World Conference and an Adobe MAX Master who has authored 19 books and has created a series of training
Instructor, he has produced numerous training titles for KelbyOne. videos. Colin is also the founder of the online resource
Look for his latest book Photoshop Tricks for Designers. PhotoshopCAFE.com and president of Software-Cinema.com.
PETERBAUER LESASNIDER
is an Adobe Certified Expert that does computer graphics con- is the author of Adobe Lightroom CC and Photoshop CC for
sulting for a select group of corporate clients. His latest book is Photographers: Classroom in a Book (2016), Photoshop CC: The
Photoshop CC for Dummies. He was inducted into the Photoshop Missing Manual, TheSkinnyBooks.com eBooks, more than 40
Hall of Fame in 2010. video courses, and the “Creaticity” column for Macworld.
DAVECLAYTON SCOTTVALENTINE
is a UK-based graphic designer, creative specialist, and KelbyOne/ blends his education in physics with his love for art, bringing a
Photoshop World instructor with more than 30 years of experience. unique voice to teaching through experimentation. His Hidden
Specializing in all things design and marketing, Dave is also an Power books (Adobe Press) are used in colleges across the US,
Adobe Influencer and Training Manager at Astute Graphics. and he’s a longtime member of Adobe’s prerelease team.
MICHAELCORSENTINO ERIKVLIETNICK
is an award-winning wedding and portrait photographer, founded IT Enquirer in 1999. A J.D. by education, Erik has been
Photoshop and Lightroom expert, author, columnist for Shutter a freelance technology editor for more than 22 years. He has
Magazine and Resource Magazine, and speaker and international written for Macworld, Computer Arts, and many others. He also
workshop leader. Learn more at www.michaelcorsentino.com. contributes to UK-based Red Shark News and Red Shark Sound.
KIRKNELSON JAKEWIDMAN
is a professional graphics artist in the Washington, D.C., area. He is a writer and editor who lives in San Francisco. He’s been
has a B.A. from George Mason University and is an Adobe Certified covering the intersection of computers and graphic design for
Expert in Photoshop. Kirk’s career has touched on a broad range of about 25 years now—since back when it was called “desktop
subjects from logo design to animation. He can be reached here. publishing” and Photoshop was just a piece of scanning software.
KRISTINASHERK
is a high-end retoucher based in D.C. and has worked for clients
such as Time Inc. and Hasselblad. She loves “translating” Photoshop
for people and has written for Shutter Magazine, as well as authored
> K ELBY ON E . CO M
[ 09 ]
> Benefit Spotlight
Did you even know these discounts existed? If not, stop KelbyOne. We negotiate special deals just for our mem-
what you’re doing right now and explore how much bers. Some members have even saved enough money
money you could be saving on everything from camera through our discount program to make their cost of mem-
gear to office supplies. We have special discounts from bership practically free.
B&H, Apple, Mpix, Triple Scoop Music, Tether Tools, and So what are you waiting for? Log in now to see how
> PHOTOSHOP USER > F E B R U A RY 2018
many more—even discounts on hotels and rental cars. much you can save, especially if you’re about to invest in
That’s the power of being part of an organization such as some new camera gear or Photoshop plug-ins. n
HANDS DOWN,
THIS IS THE BOOK
THAT WILL
GET YOU THERE
Standing in front of a room packed with 360 photographers at his seminar, Scott asked for a show of hands:
“How many of you own some kind of an off-camera flash? A Nikon, Canon, Yongnuo, etc.?” About 340 hands went up.
“Okay, I have one more question, but before you raise your hand, I want you to really think about your answer.
Let’s see a show of hands—how many of you love using your off-camera flash?” Out of those 360 people, just four
people raised their hands. He was stunned. That’s why this book was created—to help you finally fall in love with
your flash—and the best news is, it’s way easier than you’d think. It’s time to fall truly head-over-heels in love with
your flash, so you can start creating the type of images with your flash that you’ve always dreamed of.
| KELBYONE.COM | #KELBYONEBOOKS
SARAHFREEMAN & DAVECLAYTON
> KelbyOne Community
Inspiration, information, and member musings to fuel your creativity
Tracy Sweeney of Elan Studio we get introduced to these new updates, but then they
Just Visited KelbyOne joined Scott Kelby on The Grid to talk about the update and
We were so excited to have Tracy Sweeney, family and answer questions from our viewers!
commercial photographer, come visit us at KelbyOne this Here’s a quick list of all the new features: The Quick Selec-
past month. She visited us all the way from Bristol, Rhode tion and Magic Wand tools now have a Select Subject feature,
Island (a nice break from the cold for awhile). We can’t wait Select and Mask has been improved, better SVG Compatibility
to share what she has in store for you guys. with Adobe XD, support for Microsoft High-Density Monitors,
Coming up, you won’t want to miss Tracy’s Personal and Improved Surface Dial support. Make sure to watch
Side interview with Kalebra Kelby, as Kalebra dives deep Stephen and Meredith on The Grid to learn more!
into Tracy’s background and what inspires her. It’s easy to
see the passion she has for her family and her work. For
her next course, Tracy will take us on the business side of
photography to discuss the techniques she uses to help
gain repeat business.
And in case you can’t wait for her course, she shot a cou-
ple of live webcasts during her visit. Make sure you check
her out on the KelbyOne Pro Members’ Webcast where
she and Scott Kelby revealed their top five tips to get your
clients to buy your photos and boost your post-shoot sales.
Or watch The Grid, where she and Scott hosted a blind
photo critique and offered feedback on family photography
submitted by our members. The Countdown to
If you’d like to find out more about Tracy Sweeney and Photoshop World 2018 Is On!
see some of her gorgeous work, make sure to check out her We’re only three short months away from the biggest
Elan Studio website or search for more of her courses in creative conference in the world—Photoshop World! This
your Member Dashboard. three-day event is jam-packed with hands-on training, fun
events, and endless networking opportunities with like-
minded creative individuals and the best instructors in the
industry. You can attend a myriad of different design and
photography classes or learn something specific from one
of our six specialized learning tracks. Join us in Orlando May
31–June 2, 2018, and come be inspired!
Register before April 27, 2018, to save $100 ($200 for
KelbyOne members). We’ll see you there!
> PHOTOSHOP USER > F E B R U A RY 2018
You’re no stranger to KelbyOne. When did you discover Your work is so vibrant. Why are you drawn to product
KelbyOne (NAPP), and what has kept you here? photography, and how do you plan your projects?
I remember picking up my first issues of Photoshop User I think what I love most about product photography, par-
magazine around 2006 at a local Barnes & Noble. After ticularly with hero shots, is that you get to slow down
graduating college, my wife Jill bought me Scott Kelby’s and really craft an image because you’re not “capturing
7-Point System book for Christmas. I learned more about a moment.” I love the challenge of bringing emotion and
Photoshop from that book than I ever did in any college mood into a product image. I’m drawn to creative concepts
class. From there I discovered NAPP and Kelby Train- with pristine execution.
ing. Kelby Media has really made learning fun. I can’t say Sometimes I come up with creative headlines or phrases
enough about the impact and value that KelbyOne and its out of nowhere. I’ll document them in Evernote and trans-
community of instructors has had on my education as a late these written words into visuals. My wife and I work
creative. Over the years, I’ve experienced periods of expo- really well together creatively as well, so we also bounce
nential creative growth by combining hours of practice ideas off each other. Jill has been my biggest supporter and
alongside inspiration from KelbyOne classes. helps keep me on my toes.
You now also teach photography and retouching. You’re also a great architectural photographer. Do
What do you enjoy most about teaching? you find the outdoors cleanses your palette after
While I really enjoy building the additional skills that teach- shooting all those close-up product shots?
ing provides, I’d probably say the most rewarding experi- I love architectural photography. It’s a nice change of pace
ence is when a student of mine has been inspired enough when a client calls me up and I have the opportunity to
to go out and create amazing work. It’s a really great get out and work on location. Getting out of my studio
feeling to know that you’ve impacted someone's life and sometimes is a necessity. My approach and mindset to
inspired them in some way. architectural photography is that I’m just shooting a much
larger product outside of a studio environment.
You’re also a musician. How do you compare the
two professions, and why do you think so many What gear do you use, and what advice do you
artists have a musical background? have for anyone interested in photogaphy?
I’ve been playing guitar for over 20 years. That I shoot with a Sony A7R II full-frame mirrorless camera with
instrument taught me so much about the virtues of Canon glass. The two lenses that I use for the majority of my
patience, discipline, and self-motivation, which are also product work are the Canon 24–105mm f/4L and a Canon
helpful in running a creative business. Music plays a 100mm macro f/2.8L lens. In terms of lighting, I have several
huge role in my personal life and in my business, Digital Paul C. Buff Einsteins and AlienBees around my studio.
Art That Rocks. To become good at something, it all comes down to the
I think many artists have a music background because time you put into learning your craft; you have to practice.
they really connect to one another. I see a lot of cor- Making great imagery is all about being creative and knowing
relations between guitar and photography. Develop- how to use your tools, not necessarily having the most
ing an image is very similar to developing your tone. expensive ones. Great gear doesn’t make a great artist.
When you’re recording music, guitar pedals and soft-
> K ELBY ON E . CO M
ware effects are similar to filters in Photoshop. In audio What’s next for you in 2018?
recording software, EQ is very similar to a histogram and In early 2018 I’m releasing a full-length tutorial on product
a Curves adjustment layer. The subtle nuances in the photography with Fstoppers. I also plan to continue pushing
lighting that crafts an image is similar to the order of my product and architecture portfolio even further, including
notes chosen in a piece of music. shooting more beverage and music/audio products. n [ 17 ]
GLYN DEWIS
“One of the things I love about Glyn
as an educator is that he takes his
audience beyond just the technical
PHOTOGRAPH LIKE A THIEF
PHOTOGRAPH LI KE A THI EF
nuts and bolts of photography and
emphasizes the creative side of
building an image. Too often we ABOUT THE AUTHOR
get stuck on f-stops and shutter
speeds and forget that there is more
to a successful photograph. In a
In this book, Glyn Dewis embraces the idea of “stealing” and recreating others’ work
in order to improve as an artist. By “stepping inside” others’ images, you can learn to I NSPIRATION GLYN DEWIS
way, Glyn is a coach, but instead of reverse engineer their creation, and then build an image that simultaneously pays
homage to that work yet is also an original creation itself. I DEAS
building muscles, he is motivating Glyn Dewis is a professional photographer,
you to build a body of images that Glyn begins by covering the process of “stealing ideas” and finding inspiration. He retoucher, and best-selling author based
REVERSE ENGINEERING
shares the gear he uses, as well as his retouching and post-processing workflow. In in Oxford, UK. He works for national and
represent you as an artist. A good a chapter on how to reverse engineer a photograph, Glyn discusses how to “read” an international clients ranging from the BBC,
LIGHTI NG
coach will always nurture you along image by looking at the catch lights, shadow positions, and the hardness or softness
Sky TV, FOX, and Air New Zealand to athletes,
of the shadows. This is a crucial skill to acquire if you want to recreate a specific look.
to get the best out of you. Glyn has PHOTOGRAPHY musicians, and other industry professionals.
this gift.” Glyn then works through a series of images—inspired by movies, books, history, and
a few legendary photographers—from the initial concept and influence to the final POST-PRODUCTION A Photoshop World Dream Team instructor,
result. For each image, he reverse engineers the shot to describe how it was created,
From the Foreword by then works through the gear he used, the lighting for the image, and the post- KelbyOne instructor, and Adobe influencer,
PHOTOSHOP
processing of the image. Glyn also presents at events around the world
Joel Grimes
covering all aspects of photography and post-
By working alongside Glyn (he makes all the files available for download), you too LIGHTROOM
production.
can learn to find inspiration all around you, discover how that work can influence you,
improve your photographic and post-processing skill set, and begin your own journey CAMERA RAW
to defining your unique style. See his work at www.glyndewis.com and find
his videos on his YouTube channel at
www.youtube.com/GlynDewis.
US $ 39.95 / CAN $ 49.95
ISBN: 978-1-68198-182-6
Where are you from, and what kind of work do you do?
I was born in a little town in West London (Middlesex) called
[10]
Perivale, home of my most favorite building in the world, The Hoover
Building. As a kid I loved when my dad drove us past that building—
amazing design and architecture. That and the London Underground
RAPID-FIRE
fascinated me! Definitely a contributory factor to my love of design. QUESTIONS
I’ve lived in Southall, Middx, Croxley Green (just outside Watford),
Coalville, Leicestershire (home of Lastolite), and for the past 10 years
I’ve lived in Swindon with my wife and four children. DAVECLAYTON
It took a good few years for me to find a career in design. I went
1. Favorite movies
around working in engineering, admin for a print machine manufac-
Shawshank Redemption, Brother Bear (one
turer, sales for a quarry company, and sales in fenders (sadly not the
of my best friends, Aaron Blaise, directed it),
guitar type—these were boat bumpers). Eventually, I became a mar-
and Love Actually (because my Dad is in it)
keting manager at another quarry company and I was sold. I’ve been
in design and marketing ever since. I’m now the Training Manager 2. What can’t you live without?
for Astute Graphics, which makes professional plug-ins for Adobe My family.
Illustrator. My role is to introduce designers and design teams to our
3. Favorite type of music
plug-ins, and then design training solutions around that! I love it!
The Script, The Rolling Stones, Saint Motel,
Where do you look for inspiration? The Dirty Strangers, and my Dad’s album!
I love books! Seriously love them. I have a library of over 300 books
4. What do you do in your spare time?
of which 90% are design- or photography-related. I love the history
I consume design in the form of books and
of the subject. I also listen to a lot of design podcasts, such as Adven-
podcasts, plus our children’s activities.
tures in Design, Creative South, The Honest Designers Show, and
Master of One, because I learn so much about the industry and the 5. What’s your favorite place to travel?
designers themselves. Keep learning! The U.S.—any excuse to go and I’m there!
What do you enjoy most about teaching? 6. What are three things you always
I’ve amassed so much knowledge and experience over my many
take with you when you travel?
Field Notes, my phone, photo of my kids.
years that it gives me great satisfaction to help others. I’m very much
a “teach-a-man-to-fish” kind of guy. Sometimes people just need 7. What’s your favorite new app?
a nudge in the right direction. Seeing people “get it” and go on to Slack: I belong to some design Slack feeds.
produce great design makes me happy. My eight-year-old daughter
loves design; I’m teaching her illustrator and logo design. 8. What’s the best advice you’ve
ever received?
Do you have any work rituals? From my Dad: “If something is going
Other than listening to music or podcasts while I’m working, I tend wrong, stop and think why.”
to just make a note of all the objectives of my day in my Field Notes
9. Who would you recommend some—
book I carry with me. You always need a pencil and a notebook with
one to follow on social media?
you; the batteries never run out.
The two podcasts I cohost, @vectorge-
Are there any hardware or software tools nerians and @heshootshedraws, and
you just couldn’t live without? @astutegraphics.
> K ELBY ON E . CO M
I’m predominantly an Apple user; the ecosystem works for me—my 10. What’s the one thing you wish
phone is my mobile office. I love Adobe Creative Cloud. When I think somebody would ask you?
back to the days of cheaper alternatives, having CC now is just so I always wanted to be an astronaut, so “Do
satisfying and affordable. Plus, Astute Graphics plug-ins, of course! you want to fly into space?” n
[ 19 ]
> Heard on the Tweet
A Quick Glance at Some Highlights from our Twitter Feed
> PHOTOSHOP USER > F E B R U A RY 2018
[ 2 0 ]
› › HEARD ON THE TWEET
> K ELBY ON E . CO M
[ 2 1 ]
Here Are Your Late
Every week, we publish at least one new training c
Breathtaking
Just OneBird Photography:
More Flash
Pro Settings and Techniques
Join Rick
Learn howSammon
to add onein Bosque delto
more flash Apache as he teaches
your portrait you how
lighting with ScotttoKelby!
master the arton
Building and
thecraft of bird photography.
foundation you gained
Rick shares plenty of tips on stopping action, capturing gesture, shooting at different
in Just One Flash, Scott teaches you the why, when, and how of adding a second flash to your times of day, composition
Speedlight
techniques, the gear
setup. Whether he uses,
you want and soseparation
to create much more. From birds
between youron the ground
subject to background,
and the birds in flight,add
Ricka covers
fill light,all
orthe
situations and scenarios you’re likely to encounter.
change the look of the background itself, you’ll be amazed at all the great things you can do with a second flash.
Join Justin Wojtczak as he teaches you how to plan, shoot, and edit wedding video. Justin goes though his
entire workflow, from prep to post, and demonstrates each step in his process. You can even follow along
with his postproduction workflow with the provided files in either Adobe Premiere or Photoshop. By the end
of the class you’ll feel confident in your ability to add this new income stream to your wedding business. [ 2 3 ]
COREYBARKER
SILHOUETTE DESIGN
WITH VINTAGE
TEXTURE EFFECTS
With the Winter Olympics upon us, and my overwhelming desire
to go skiing, I thought this month we’d design a vintage ski-
themed poster. We’ll play with a few cool layer tricks to achieve
a vintage silhouette effect, all the while keeping every element
on its own layer for maximum design flexibility.
> PHOTOSHOP USER > F E B R U A RY 2018
[ 24 ]
› › DOWN & DIRTY TRICKS
©Adobe Stock/Sharpshot
such as parchment or something similar. I found
this one on Adobe Stock. I like it because it’s vis-
ibly aged, and the stains show that it has seen
some use.
To obtain the stock images used in this exer-
cise so you can follow along, download the water-
marked previews from Adobe Stock directly to
your Libraries panel (Window>Libraries) by click-
ing on the links for the images below. When
the Adobe Stock web page opens, make sure
you’re logged in to your Adobe account, then
to the right of each image, you’ll see the option
to Save Preview to My Library (you can click on
My Library to select a different library or down-
load option). Click on the cloud-with-an-arrow
icon, and the preview image will automatically
be downloaded to your Libraries panel in Pho-
toshop. Simply double-click the image in the
Libraries panel to open it in Photoshop.
• Mountain landscape
[ 2 6 ]
› › DOWN & DIRTY TRICKS
[ 2 8 ]
› › DOWN & DIRTY TRICKS
[ 2 9 ]
› › HOW TO
> K ELBY ON E . CO M
[ 3 3 ]
› › HOW TO
©Adobe Stock/showcake
to the skier so it looks as if he’s trail-
ing snow behind him from his jump.
Here we have a cool particle element
that will work great. Remember, it
will be a silhouetted effect, so we’re
only concerned with the shapes of
the particles.
In the Channels panel (Window>
Channels), hold down the Com-
mand (PC: Ctrl) key again as you
click on the Red channel, which
contains all the information as
represented by white on the Red
channel thumbnail.
> PHOTOSHOP USER > F E B R U A RY 2018
> K ELBY ON E . CO M
[ 3 5 ]
KIRKNELSON
HOW TO CREATE A
MINIATURE SCENE
The images that capture our imagination are almost always a
result of depicting something unusual or downright impossible.
The curious nature of our minds is naturally drawn to things we
haven’t seen before, or may never be able to see. That’s part
of the fun of crafting a photo-illustration. To take an impossible
concept, like playing chess against a miniature person who is
no bigger than the pieces, and make that concept come to life.
In this tutorial we’ll composite two images to create a convincing
scene of a chess game against an impossible opponent!
> PHOTOSHOP USER > F E B R U A RY 2018
[ 3 6 ]
› › DOWN & DIRTY TRICKS
[ 3 9 ]
› › HOW TO
[ 40 ]
› › DOWN & DIRTY TRICKS
[ 4 1 ]
› › HOW TO
[ 4 2 ]
› › DOWN & DIRTY TRICKS
[ 43 ]
› › HOW TO
[ 4 4 ]
› › DOWN & DIRTY TRICKS
> K ELBY ON E . CO M
©Adobe Stock/garneg
navigate to a photo. If you’re starting in Light-
room, select a photo in the Library module and
then choose Photo>Edit In>Adobe Photoshop CC
or press Command-E (PC: Ctrl-E).
To obtain the stock image used in this exercise
so you can follow along, download the water-
marked preview from Adobe Stock directly to your
Libraries panel (Window>Libraries) by clicking on
the link for the image below. When the Adobe
Stock web page opens, make sure you’re logged
in to your Adobe account, then to the right of the
image, you’ll see the option to Save Preview to My
Library (you can click on My Library to select a dif-
ferent library or download option). Click on the
cloud-with-an-arrow icon, and the preview image
will automatically be downloaded to your Libraries
panel in Photoshop. Simply double-click the image
in the Libraries panel to open it in Photoshop.
Two words: Adjustment layers. These little buggers are the key
to almost all of my retouching. Here’s my Photoshop mantra:
“Ninety percent of retouching can be done by changing the
color or the value (lightness/darkness) of a pixel.” That’s it.
I try not to use Liquify, and very little of the Clone Stamp and
Healing Brush. This is a very important statement, and I try
to live by it.
Why no Clone Stamp or Healing Brush? When you clone
or heal an area of your image, you’re changing the pixels from
their native form. This is destructive editing. And even worse,
if you make these changes on your Background layer, it’s more
destructive since you won’t ever be able to get that original
detail back. This is why the first step in retouching is always to
either duplicate the Background layer, or to create an empty
layer on top of it on which to do your retouching. (Just for the
record, all images will need a tiny bit of cloning and healing, but
just don’t rely on it too heavily. It shouldn’t be the first skill/tool
you pull out of your Photoshop tricks’ pouch.) Instead, ask your-
self, “Can what I’m trying to retouch be fixed by changing its
color or value?” Oftentimes, the answer is yes! Let’s get started.
REMOVING WRINKLES
In this image, the first thing I’d like to do is brighten the areas
under her eyes to lessen the wrinkles. Instead of immediately
pulling out my Clone Stamp tool, let’s see if we can get rid of
the under-eye wrinkles using an adjustment layer.
> PHOTOSHOP USER > F E B R U A RY 2018
Step Two: Next, change the Under Eyes layer’s mask from white to black
by clicking on the mask thumbnail in the Layers panel and then pressing
Command-I (PC: Ctrl-I). This will hide the effect on the image. Now it’s time
to paint! Use your Brush tool (B) set to white (press X until your Foreground
color is white) to paint any areas under the eyes that need brightening.
My brush settings were 30% Opacity and 30% Flow in the Options Bar.
I used two types of brushes: a large, soft brush for bigger areas that
needed brightening, and then a tiny brush to paint right along the crevices
underneath the eye, brightening just those small, dark lines. (Use the Bracket
keys on your keyboard to quickly change the size of your brush.) Above,
you’ll see the original eye on the left, the mask that I painted in the middle,
and the after eye on the right.
DARKENING EYEBROWS AND LASHES on the top, the preview of the mask in the middle, and the
Let’s continue riding this wave’s momentum by filling in the final eyes with the brows and lashes applied on the bottom.
brows and adding lashes to this image, using only a darken-
ing adjustment layer!
MAKING CHANGES
So far, we’ve been able to do a lot to fix this image without
even touching any of the destructive tools, which is awesome
news because it means all of the pixels remain pristine and
untouched on our Background layer. And that’s the most
important thing about retouching nondestructively!
And here’s the cherry on top of editing nondestructively:
Let’s say you send this image to the client, and she writes
back saying she absolutely loves the shot, but would like her
eyelashes to stand out more. Because that change is on an
adjustment layer, we can easily go back into Photoshop and
quickly make the edit.
Not only were we able to achieve great results using non- can sometimes make the biggest difference. I think it defi-
destructive editing, but the retouching also looks realistic nitely did in this image! Here’s the final, full-frame before
and natural. It always amazes me how the smallest change and after. n
> K ELBY ON E . CO M
Because this feature is a technology preview, you must the Butterfly icon in the Options Bar. This is a drop-down
be using the latest version of Photoshop CC 2018, and menu with several options.
you’ll have to enable it in Most of these should
the Preferences: Photoshop be pretty clear; the sym-
CC (PC: Edit)>Preferences> metry modes create a
Technology Previews. Check path that acts like a mir-
> PHOTOSHOP USER > F E B R U A RY 2018
distortions, something you can’t easily do with standard extreme the curve, or the further away you are, means you
copy/paste/transform techniques. may not intuitively predict the location or shape of a given
stroke’s symmetric reflection. Working closer to the path
yields more easily predicted results.
seem like they should be smooth curves on the left? That has
to do with the way Photoshop finds the minimum perpen-
dicular distance from the painted point through the path.
If math isn’t your strong suit, just keep in mind that the more
[ 5 5 ]
› › COLUMN
Radial
Mike Shaww
Mandala
better, you can do this at any time and the change will be
reflected as soon as you start painting again.
Dave’s flamingo
SOME OTHER THINGS TO KNOW is persistent until you close the document, so you’ll
Here are a few things to keep in mind when working have to turn it off when you don’t want to use it.
with Symmetry Painting. • There are also some limitations, such as being lim-
• You can create and save many different symmetry ited to regular brushes only—no live brushes such as
paths in a given document, which allows you to con- mixer or erodible tips. That also means no smudging,
tinue working after closing and reopening a docu- gradients, selections, or additional paths; however,
ment, or to share a custom path to new documents. you can erase using symmetry.
• To activate a saved path, simply select it with the •
Also note that simple paths work best! Complex
Brush tool active, and then go to the Symmetry curves will break down quickly into chaos, and using
Painting drop-down and choose Selected Path. too many duplicate paths with large brushes will
• Transform a path while you’re working by pressing- seriously warm up your processor.
and-holding A to temporarily active the Direct Selec-
tion or Path Selection tool (depending on which tool
Remember that this is still a technology preview, so if
is currently visible in your Toolbar). Move the path
and when this feature becomes standard, it may look
where you want it, release the A key, and then con-
totally different. Until then, get in there and have fun
tinue painting (see the ABC example on page 55).
with it! Create richly illustrated photo borders, stand-
• Hide the symmetry path to make things easier while alone designs, or small elements like buttons and fabric
you’re painting. This option is under the Symmetry patterns for illustrations and compositing. And don’t
Painting icon in the Options Bar. forget about 3D textures! Share your creations on
• A
lso in the options is the ability to toggle symme- the KelbyOne Community forums and social media
try on and off. For a given document, this choice (#kelbyone, #pspg). n
> PHOTOSHOP USER > F E B R U A RY 2018
Thurs. May 31st | Keynote, Classes, Portfolio Reviews, Partner Pavilion, Get Ready to Go Pro,
Dinner with a Stranger, and After-Hours Party
Fri. June 1st | Classes, Photo Shootout, Live Natural Light Shoots, Partner Pavilion,
Midnight Madness, and An Evening with Jeremy Cowart, and 10 Things Luminar Can Add to Your Lightroom/Photoshop Workflow
Scott Kelby Joe McNally Peter Hurley Jeremy Cowart Moose Peterson
Matt Kloskowski Roberto Valenzuela Glyn Dewis Dave Black Kalyee Greer
Tim Wallace Serge Ramelli Terry White Kristina Sherk Rob Sylvan
Midnight Madness
Keynote Address
In-Depth Workshops
Come the day before the conference kicks off for our optional in-depth pre-conference workshops. These intensive
workshops provide a deep dive into the topics you want to learn most with small class sizes, live shoots, and hands-
on training. Pre-purchase is advised.
Photoshop Essentials for Beginners | Dave Cross Cityscape Retouching: A Live Shoot | Serge Ramelli
Photograph Like a Thief: From Concept to Print Train your Eye to SEE and CREATE
& Everything Between | Glyn Dewis Better Poses | Lindsay Adler
Pro Techniques for Lighting Automobiles! Overcoming The Challenges of Location Shoots
A Live Shoot | Tim Wallace Frank Doorhof
Moose
Peterson
Modern Day Wildlife Photography | Photography
Rick
Sammon
Adding Impact to In-Camera Images | Photoshop Effects
12:00pm-1:00pm
Dave
Cross
Selections & Masks Demystified | Photoshop Essentials
Jesús
Ramirez
Mastering Photoshop Blending Modes | Graphic Design
Tim
Wallace
Stock Photography: How to Shoot It & Sell It | Business/Career
Matt
Luminosity Mask Basics in Lightroom & Photoshop | Lightroom
Kloskowski
Lindsay
Adler
High Impact Images: Create Photos that WOW | Photography
Glyn
Dewis
Photoshop Lighting Effects for Photographers | Photoshop Effects
4:00pm -5:00pm
Bryan O’Neal
Hughes
A Modern Photo Restoration | Photoshop Essentials
Dave
Cross
Intro to Illustrator | Graphic Design
Stella
Kramer
50 Things You Need to Know to Succeed, Part 1 | Business/Career
Scott
Kelby
Simplified Lightroom (Classic) Image Management System | Lightroom
Matt Photo Styling with Photoshop Color Lookup Tables | Photoshop Effects
Kloskowski
5:15pm -6:15pm
Kaylee
Greer The Secrets to Creating the Best Dog Photos | Photography
Dave
Black SPORTS Action High Speed Sync FLASH | Lighting/Flash
8:00am- 9:00am
Mark
Heaps Digital Color & Tone Fundamentals | Photoshop Advanced Techniques
Dave
Cross The Power of Using Photoshop, Illustrator & InDesign Together | Graphic Design
Lindsay
Adler Plan, Shoot & Publish a Fashion Editorial | Motivation/Inspiration
Matt
Kloskowski Lightroom Mobile: Landscape & Travel Photographers | Lightroom
Peter
Hurley Top 10 Headshot Blunders | Photography
Lindsay
Adler Portraiture as a Work of Art: A Live Shoot | Lighting/Flash
9:15am -10:15am
Julieanne
Kost Advanced Photoshop Tips & Tricks | Photoshop Advanced Techniques
Corey
Barker Improv Photoshop & Illustrator Hour | Graphic Design
Kaylee
Greer Live Your Dream Career! | Motivation/Inspiration
Serge
Ramelli Cityscape Master Class | Lightroom
Lindsay Color Grading: For Mood & Impact | Photoshop Advanced Techniques
Adler
Dave
Black The Right Stuff: A Sports Shooters Guide | Photography
Glyn
Dewis Portrait Lighting is Easy, Trust Me! | Lighting/Flash
3:00pm -4:00pm
Kristina
Sherk The Art of Magazine—Quality Skin Retouching | Photoshop Advanced Techniques
Scott
Kelby How to Design Really Effective Ads! | Graphic Design
Tracy
Sweeney The Joyful Photographer: Run a Successful Child Photography Business | Motivation/Inspiration
Serge
Ramelli Black & White: Today & Yesterday | Lightroom
Moose
Peterson
Landscape Photography: Beyond Sticks & Stumps | Photography
Dave
Black
Lightpainting: Fun in the Dark | Lighting/Flash
4:15pm -5:15pm
Jesús
Ramirez
Making Realistic Composites in Photoshop | Photoshop Advanced Techniques
Terry
White
Create & Update Your Portfolio with Adobe CC | Graphic Design
Joe
McNally
A Year in the Life of a Photographer | Motivation/Inspiration
Kristina
Sherk
Everyday Portrait Retouching in Lightroom | Lightroom
Joe Mixing it Up with Radio TTL - Big & Small Flash Together | Lighting/Flash
McNally
5:30pm -6:30pm
Attend conference sessions in any track and move between them as you like. Instructors, classes, and class materials may change without prior notice.
Visit www.Photoshopworld.com for the latest schedule and information.
DAY 3 (06.2.18) SCHEDULE
Glyn
Photoshop Power Hour | Photoshop for Photographers
Dewis
Corey
Creating 3D Composites in Photoshop | Photoshop Compositing
Barker
9:15am -10:15am
Moose
Luminar: Filling the Void of Nik | Software/Plug-ins
Peterson
Dave
Illustrator Tips & Tricks | Graphic Design
Cross
Justin
DSLR Video Basics | Video for Photographers
Wojtczak
Terry
Lightroom: Beyond Image Management | Lightroom
White
Rick
Sammon Tricks & Fixes to Make Photoshop Fun | Photoshop for Photographers
Glyn
Dewis Compositing: Don't Get Stuck, Get Creating! | Photoshop Compositing
10:30am -11:30am
Kristina
Sherk Batch Portrait Retouching with Perfectly Clear V3 & Lightroom | Software/Plug-ins
Dave
Clayton Ten Tips & Tricks for InDesign | Graphic Design
Justin
Wojtczak Increase Your Photography Sales with Video | Video for Photographers
Scott
Kelby Making Awesome Prints in Lightroom Classic | Lightroom
Glyn
Dewis A Complete Photographer's Guide to Photoshop | Photoshop for Photographers
Tim
Wallace Compositing Techniques | Photoshop Compositing
1:00pm -2:00pm
Matt
Kloskowski Start of Finish Workflow with On1 Photo Raw | Software/Plug-ins
Terry
White Intro to Adobe Muse CC | Graphic Design
Justin
Wojtczak DSLR Interviews: Creating an Impactful Story | Video for Photographers
Serge
Ramelli Presets: How to Speed Up Your Workflow | Lightroom
Images courtesy of Brad Moore, Rob Foldy, Nick Pedersen, Scott Kelby, Don Clark, Kevin Newsome, Kim Griifen and Scharad Lighbourne.
host hotel Stay Where the Action Is!
Hyatt Regency Orlando | 9801 International Drive, Orlando, FL 32819
Our home for Photoshop World is the beautiful Hyatt Regency Orlando Convention Center conveniently
located on International Drive. Placed within walking distance to Pointe Orlando with dozens of beauti-
ful shops, exciting eateries, and nightclubs, it’s the ideal location for a conference. Best of all, The Hyatt
Regency Orlando is our host hotel too!
Special Event Rate Per Night: $159 plus resort fee, current Orange County room tax of 13.5% (subject to change).
To reserve your room visit photoshopworld.com/travel. Resort fee includes complimentary self-parking for two
cars/per room, in-room Wi-Fi connection, fitness center access (fitness classes, pool activities, and bike rental),
10% off spa treatments and merchandise, (2) I-Ride Trolley tickets, local and toll free (800) calls, free faxes, and
(2) 16.9oz bottles of water per day.
By Dave Cross
ACCURACY: LAYER ADJUSTMENTS
By using techniques such as adjustment layers or to the red color in the Properties panel, I deliberately
Camera Raw smart objects, you can take advantage of make a drastic adjustment, picking a setting such as this
their editability by deliberately overdoing an effect so over-the-top blue.
it’s easier to create a mask, and then pulling back the Once this adjustment is made—based on my initial
effect when you’re finished masking. This method is selection—I can now continue to tweak the mask to
great for compositing, selectively adjusting an image, make sure there are no red areas visible on the bridge
and much more. or in the water reflection. Using the Polygonal Lasso
Here’s a simple example, where I want to make a tool (press Shift-L until you see the Lasso tool with
subtle adjustment to the red of the covered bridge. straight lines and corners), I selected any remaining
red areas along the bridge and filled the mask with
white (press X until your Foreground color is white,
then press Option-Delete [PC: Alt-Backspace]). I used
a soft brush set to a slightly lower Opacity in the
Options Bar to paint in the water reflection.
[ 72 ]
One of my mantras when working with Photoshop and tweak the results. It’s much faster than starting
is always to think, “end up with…,” as in “I want to from scratch every time.
end up with a subtle change in the red bridge.” This For instance, say I want to add a vignette effect to
helps me to remember that it’s often much easier to a photo in a way that can easily be applied to other
overdo an adjustment at first to make my life easier, photos. Here are the steps I’d take to create the effect,
and then put the settings back at the end. with repurposing in mind.
EFFICIENCY
Here’s an often-overlooked advantage of working
nondestructively: almost all these techniques can easily
be reused and repurposed. Just drag-and-drop a smart
filter or adjustment layer onto another layer or image
2. H
istory is very linear: When you use
the Step Backward command (under
the Edit menu) you’re working your
way backward through History, one
step at a time. That makes it very
difficult to do things like edit a filter
that you did six steps ago.
> K ELBY ON E . CO M
KEY TECHNIQUES
Step Four: To achieve the same look on another photo, ADJUSTMENT LAYERS
it’s as easy as drag-and-drop: Hold the Shift key and Whenever you decide to apply an adjustment in Photo-
drag the adjustment layer from the Layers panel to shop, you can do so using either the Image>Adjustments
another open photo. Adding the Shift key centers the menu, or Layer>New Adjustment Layer menu. The big-
adjustment layer in the new photo. It’s quite possible gest difference between the two methods is the OK
that the settings won’t be perfect, but it’s a simple button. Say what? Here’s the problem with OK buttons,
matter to edit any part of this effect. You can change using Levels as an example:
the Curves setting to make the edge lighter or darker,
adjust the Feather setting to change the softness of First, go to the Image>Adjustments menu to access
the edge, and you can use Free Transform (Command- the Levels command. After moving the triangles to
T [PC: Ctrl-T]) to alter the size of the shape on the mask. make an adjustment, you have to click OK to apply
the adjustment.
> PHOTOSHOP USER > F E B R U A RY 2018
[ 74 ]
The problem here is, unless you undo the adjustment
right away, if you attempt to make further adjustments 1
(or correct a poor adjustment), the Levels dialog will
look like this.
2
Perhaps Adobe could make it a little more obvious
that it’s going to be extremely difficult to make any
further adjustment to this kind of histogram by making
the dialog look like this.
There are two other advantages of using adjustment
layers: they automatically come with a layer mask
(more on that next) and, as mentioned earlier, they can
easily be applied to other photos.
LAYER MASKS
In my opinion, there are two bad words when it comes
to working nondestructively: erase and delete. If you
erase or delete pixels, they’re gone, unless you undo
right away. A layer mask gives you the opportunity
to hide pixels instead of deleting them and, because
the pixels are hidden, they can always be shown again
Instead, choose Levels from the Create New Adjust- should you need them.
ment Layer icon (half-black, half-white circle) at the To compare the difference, we’ll start with a photo
bottom of the Layers panel (or using Layer>New and a type layer.
Adjustment Layer>Levels, or the Adjustments panel).
©Adobe Stock/Masson
2.
The adjustment layer appears above the Back-
> K ELBY ON E . CO M
SMART FILTERS
Remember when we talked about making adjustments
and the disadvantage of the OK button? The same
thing applies with filters: using filters in the traditional
way (i.e., not smart filters), you have to click OK at
some point, making the results pretty permanent. Of
course, you could undo the filter right away, but what
happens if you’ve done eight more steps or closed the
document and then want to change the filter settings?
Some people suggest duplicating the Background
layer before applying a filter. Although that works
because it protects the original image, it still doesn’t
mean that you can edit the settings—or remind your- 5. Delete a filter by Right-clicking on the filter in
self later what settings you used. In contrast (as we’ll the Layers panel and choosing Delete Smart Filter.
see), a smart filter appears in the Layers panel, allow-
6. Paint on the Smart Filters mask to hide the effects
ing you to see and edit the settings.
of the filter in specific areas.
It’s simple to create a smart filter: you just have to
turn the layer into a smart object first. You can either
choose Filter>Convert for Smart Filters or Right-click
> K ELBY ON E . CO M
As long as you save the file as a PSD file, you’ll always should avoid it—is that you can no longer edit the text.
be able to see and edit the settings for the smart Fortunately, this very same warning dialog also has a
filter(s) in the document. button for converting the layer to a smart object.
Another advantage of smart filters is when you’re So convert the type layer(s) to a smart object and
working with text. Without smart filters, if you tried then apply the filter. In this example, a Filter>Blur>
to apply a filter to a type layer, you’d get a warning Motion Blur was applied and the filter Blending
dialog prompting you to rasterize the text. As we Options were used to lower the Opacity of the smart
saw, the problem with rasterizing—and why you filter. If you need to edit the text, double-click the
smart object thumbnail to open the text in a tempo-
rary document. Make your changes, and then save
and close the document.
PEN TOOL #1
Whether you love or hate the Pen tool (P), it’s now easier to
make changes to its behavior in Photoshop. When you start
drawing a path around your subject (a robot in this exam-
ple), sometimes the path may be too thin against the object,
and you’d like the path to be a little thicker. Just go up to
the gear icon in the Options Bar and change the Thickness, checkbox, click OK, and you’re ready to dodge and burn to
and while you’re there, you can change the Color as well. your heart’s content on your new layer. You’ll see a gray
layer in your Layers panel, but the Soft Light mode renders
©Adobe Stock/charles taylor
[ 81 ]
› › HOW TO
SHAPES—DUPLICATE AND TRANSFORM hold the Option (PC: Alt), key it slows way down to 0.10%
If you want to make a complex shape from an existing increments. You only see the decimal points in certain cases;
shape, and if there’s any kind of repeat required, you don’t for example, changing the size of text.
want to be eyeballing it. Say we want to add a retro kind of
star shape to our robot image. First, we need to create the CAMERA RAW SHARPEN
basic shape we want to use to build the final shape, so grab You’ve probably seen lots of sharpening tips in Photoshop
the Ellipse tool (nested in the Shape tools [U] in the Toolbar), but here’s one I saw recently involving the Camera Raw Filter
make sure it’s set to Shape in the Options Bar, and select that I’ve started to use more. With your image in Photoshop,
the Foreground color you want the shape to be. Draw out go up to Filter>Camera Raw Filter and click on the tab with
a long, thin ellipse, and then switch to the Move tool (V). double triangles to switch to the Detail panel. We’ll zoom in
Press Command-T (PC: Ctrl-T) to enter Free Transform, and to 100% to see our little robot face up close.
in the Options Bar, rotate this shape by 10° and commit the Hold the Option (PC: Alt) key when dragging the
change by clicking the checkmark. Amount slider to make the image black-and-white so that
We want to repeat this shape to make our funky star, you can see the sharpening effect a lot better without the
which means it’s finger-twister time. Press Shift-Option- color getting in the way.
Command-T (PC: Shift-Alt-Ctrl-T). This will duplicate the Now you can do the same with Radius; this time the image
shape and repeat the 10° transformation. Keep pressing will turn gray, and you’ll only see the effect that the Radius is
that keyboard shortcut until you have your star. Bada bing, having on the edges of the image. The same will happen with
bada boom! Detail to ensure you don’t go too far on the detail. Finally,
with Masking, this shows the mask being created so you can
see what’s being sharpened and what’s not.
saved preset from the Preset drop-down menu. This works PREFERENCE TIPS
for about half of the available adjustment layers. These are just three little things I always set in my Prefer-
ences that I prefer when working in Photoshop.
1. Cursors: I like to turn on Show Crosshair in Brush
Tip so that when I’m painting along a specific place,
I can use the crosshair to be more accurate.
2. Tools: Zoom with Scroll Wheel—This won’t work
with everyone’s mouse (the Wacom Police are now
running around and screaming) but with my Apple
Magic Mouse, I like to use the scroll function to zoom
in and out of images.
3. Transparency & Gamut: This isn’t really a must-
have, just a tip to change something we all take as
BO-SELECTOR!
standard. When you have transparency in Photoshop,
This is one that always catches me out and I should know
it’s always represented by gray and white squares. But
better! While dragging out a selection with the Rectangu-
if you’re a colorful little person and don’t like dull gray,
lar or Elliptical Marquee tools, hold down the Spacebar and
you can change this. Just select one of the presets from
then you can move the selection around the screen. Release
the Grid Colors drop-down menu, or click on the color
the Spacebar to continue drawing your selection. I’ve forgot-
swatches to create your own custom colors.
ten this little trick more often than I care to admit, and gone
back to making a new selection. The same applies when
FETCH THAT FILE (MAC)
creating a shape: Hold the Spacebar down while drawing
When you have several files open in Photoshop and you
the shape to reposition it. Simple but smart, like myself. ;)
need to quickly know where one file is currently saved, you
don’t have to do anything more complicated than Right-
POINT TO PARAGRAPH TEXT AND BACK AGAIN
click on the image tab and choose Reveal in Finder, which
This is a tip I’ve covered before but it’s still a good one to
will open a Finder window, revealing its location.
remember when using type. When you add type to an
image, you usually click once with the Type tool and start
THAT BOTTOM THING
typing. If you add lots of text, at some point you’ll have to
This is something you’ve possibly never used or changed
press Return to move to the next line. But if you then reduce
before but actually can be quite useful. At the bottom left of
the font size, you’ll find that the formatting looks all funky
your Photoshop document, you’ll see two numbers, usually
and wrong, and then you start trying to fix all the Returns.
the zoom percentage and the file size. Did you know that
There’s an easier way.
you could change that second bit of info? By clicking the
You can change your type from point (where it just keeps
small arrow, you can choose from 12 different options!
going on the same line) to paragraph (where the type auto-
matically goes onto the next line based on the constraints
HEY, LOOK AT ME!
of the text bounding box), and vice versa. And it’s easy to
So, you’ve created an awesome image and you can’t wait
switch between the two. Just add some type to your image,
to share it with the world. Did you know you that you could
Right-click on the type layer in the Layers panel, and choose
do this straight from Photoshop? Just go up to File>Share,
either Convert to Point Text or Convert to Paragraph Text.
and you get a box with options such as Add to Lightroom
Photos, Mail, Messages, AirDrop, Notes, Twitter, Facebook,
ESCAPE THE TEXT!
Flickr, Add to Photos, and MySpace—actually that last one
Here’s another type tip: How many times do you create text
and then click on another tool to commit the text? You can
was a lie. ☺ I wonder if there’s a way of adding others.
Instagram would be nice but you can’t share to Instagram
also click the little checkmark in the Options Bar to commit,
> K ELBY ON E . CO M
spirited branding
[ before ] The car manufacturer Dacia, headquartered in Bucharest,
Romania, was founded in 1966 as a cooperative venture
between Romania and Renault. Its first vehicles rolled off
the line in 1968. In 1999, the company became part of
Renault; the umbrella corporation Groupe Renault was
formed in 2015. Dacias are currently sold in Western and
Eastern Europe, the Middle East, and Africa.
The brand has always been known primarily as a bud-
get option. “Before I came in,” says Karl Saffré, General
Manager, Design Group Identities at Groupe Renault’s
Design Department, “we only had one message, which
was price, price, price.” Saffré joined the company in 2016
after 17 years in various advertising, branding, and design
agencies. “The head of design brought me in and asked
me to create a new department to handle brand manage-
ment,” he says. “I’m in charge of the Groupe Renault cor-
porate brand, the premium Aline brand, the mass-market
Renault brand, and the low-cost Dacia brand.”
At the time, Dacia used Monotype’s Neo Tech font
in all of its marketing materials for both display and for
body text, but it didn’t fit the direction Saffré wanted to
take the brand. “It’s a very technical, edgy font,” recalls
Jérémie Hornus, cofounder of Paris-based type design
firm Black[Foundry], with something of a futuristic feel.
As a monoline sans serif font, it’s also difficult to read at
small, body-copy sizes. Finally, it’s not a proprietary type-
face—it isn’t unique to Dacia. For all these reasons, Saf-
fré contracted with Black[Foundry] to design a new font
that could be used for both Dacia’s marketing materials
and for the digital interface on all of Groupe Renault’s
cars. The result was the sans serif font Read (for Renault,
Pages from the original Dacia Duster brochure Alpine, Dacia). But to go with it, Saffré also wanted a dis-
> P H O T O S H O P U S E R > F E B R U A R Y 2 018
makeover submissions
We’re looking for real-world makeovers for future installments of the “Design Makeover,” so let us know if you recently had a branding makeover or if you did
a branding makeover for a client that you’d like us to consider. We cover everything from product packaging or labels, print advertisements, websites, logos, and
magazine covers that are currently in the marketplace. So if you’d like to be considered, send us an email at [email protected].
[ 8 4 ]
› › DESIGN MAKEOVER
CLIENT
Dacia
Groupe Renault
[ the project ] When Saffré joined Groupe Renault and started thinking
about the needs of the Dacia brand, his first question was
what would be the future of a low-cost brand in what was
becoming a very competitive market in Europe. “We had
to find other messages than just low price,” he says. “I saw
the possibility of creating a new perception of the brand.”
In 2017, Dacia launched what Saffré calls an “iconic proj-
ect” in the new Duster SUV. “We redesigned it with more
perceived quality and a more attractive design, but without
changing the price.”
Saffré’s group was charged with creating a new per-
ception of the brand that would extend across all customer
touchpoints. “Today when we manage a brand, we do it
mostly in digital, and consumers don’t want to see a logo
on all those touchpoints,” he says. “But I need to make
sure the brand is apparent, and typography is a way to
do that.”
At that point, Black[Foundry] was already working on
the Read typeface that would be used for the human-
machine interface across the entire Groupe Renault line.
Saffré asked the type designers to also create a proprietary
font “starting from simplicity but with a big smile inside.”
“They said they wanted to bring the brand closer to
its customers,” recalls Hornus. “They wanted it to be
more accessible and feel more like a desirable, trusted
brand than like a discount brand.” They also wanted a
typeface that felt more human than the mechanical Neo
The new DaciaSpirit font Tech. The result was DaciaSpirit, a display face with four
script variations—Latin, Cyrillic, Arabic, and Hebrew—
to accommodate the different languages used across
Dacia’s sales region.
Renault was established in 1899 and is the ninth largest automaker in the world. The Groupe Renault, the umbrella corporation formed in 2015, comprises five brands:
Renault, Dacia, Renault Samsung Motors, Alpine, and Lada, each with its own market position and geographic strategy. Renault is a global brand, Renault Samsung Motors
sells mainly in South Korea, Lada is the leader in the Russian market, and Alpine is a premium sports car brand.
Dacia was founded as a Romanian state-owned company based in Pitesti in 1966. There, it produced the Renault 8 (known as the Dacia 1100) and the Renault 12
(Dacia 1300) under license. Today, Dacias are sold in 44 countries throughout Europe, North Africa, and the Middle East. They have a reputation for being sturdy vehicles
at affordable prices. [ 8 5 ]
› › COLUMN
DESIGNER
Black[Foundry]
black-foundry.com
[ the process ] “The challenge was to respect the integrity of each writing
system but also to convey the same brand identity feel in
all of them,” says Hornus. “Native speakers must get the
same message, whatever the script. So the trick is to not
‘Latinize’ the other scripts while still harmonizing the entire
vocabulary of letter shapes.” For instance, the Arabic script
could not incorporate the Latin’s strict geometry without
becoming too ornamental and monumental.
Black[Foundry] worked on all four scripts simultane-
ously, with sketches going back and forth to keep the
sense of a family while accommodating the needs of each
script. The firm has a Russian designer in-house and relied
on expert native speakers for advice on the Arabic and
Left: Arabic; Right: Latin Hebrew variations.
The designers first experimented with humanist fonts in
the spirit of Gill Sans, but those were rejected as not being
modern enough. So they turned to geometric typefaces in
the Bauhaus tradition, such as Futura, based on circles and
squares. But while that geometric approach worked well
for the Latin and Cyrillic scripts, it wasn’t appropriate for
the more calligraphic Arabic. There, the counter (the open
space in the middle of a character) is a teardrop shape rather
than a circle. At the same time, the strokes of the Latin
characters vary subtly in width, reflecting the calligraphic
influence. Similarly, while the Latin script uses a round dot
over the i, the Arabic script had to have diamond-shaped
dots in order not to look comical.
There was also some back-and-forth with Dacia over
certain details, like the center of the lowercase w. In the
light version, it looks like two v’s crossing, but in the heavier
weights it’s an inverted triangle. “We thought it was an
interesting peculiarity of the design,” says Hornus, “but
> PHOTOSHOP USER > F E B R U A RY 2018
[ 8 6 ]
› › DESIGN MAKEOVER
DESIGNER
Black[Foundry]
black-foundry.com
[ the result ] The new typeface started to be rolled out in the late fall
of 2017. “I think the result is quite successful,” says Hor-
nus. “DaciaSpirit has been quite well used by the agen-
cies making the ads.” For technical reasons, though,
the rollout will happen step-by-step, and even some
downloadable materials with 2018 dates are still in Neo
Tech. “It will be better with time—DaciaSpirit is meant
to be a display typeface and should be used together
with Read,” Hornus continues. “That will be a very good
combination. We’ve seen mockups of the new website,
and it’s looking quite good.”
Saffré is also pleased. At a recent auto show in Ger-
many, Groupe Renault invited about 50 people from the
Dacia community to a special event, and they were very
happy to see the brand renewal. “It was still their brand,”
he says, “the one they love, but also a very new brand.”
Internally, too, executives are confident in the brand’s
appeal. “Now it’s a rich brand universe,” Saffré says,
“and the typography is certainly the most important part
of our brand perception. So I’m quite happy.”
And like Hornus, he expects the benefits to continue
to grow with time. “We’ll see next year if people trans-
form the attractiveness of the brand into words,” he says.
Black[Foundry], founded in 2014, was born out of the meeting of serial French entrepreneur and type designer Grégori Vincens with a London-raised type designer and font
engineer Jérémie Hornus. Today, Black[Foundry] is an international team of 12 talents, including type designers, font developers, art directors, software engineers, program-
mers, and project managers, all working from central Paris with connections around the globe
Being both type designers and engineers, the folks at Black[Foundry] have developed a series of tools and software to create, test, and manage their fonts effectively.
Those custom-built tools lie at the heart of their Type+Tech approach, and some of them are shared on GitHub.
Besides custom work, Black[Foundry] is also developing a catalog of well-engineered fonts for others to use in their own design projects. The typefaces will soon be avail-
able in several simple licenses for purchase directly on the firm’s website. n [ 8 7 ]
> Reviews
GET THE SCOOP ON THE LATEST GEAR
Rotolight
The NEO 2 is Rotolight’s disc-shaped, polycarbonate, all-in-one,
high-speed sync (HSS) flash and continuous on-camera LED light.
Unlike traditional on-camera flash, the NEO 2 has no recycle time.
NEO 2
It succeeds well as a continuous light; but using it as a flash requires
a different workflow than what you’re used to.
My test unit came with a modified Elinchrom Skyport transmit-
ter that communicates with the NEO 2’s built-in 2.4-Ghz HSS wire-
Switching Instantly from less flash receiver, a set of optional special effects filters for use
Continuous Light to Flash with the continuous light mode, a soft case, and a handle to hold
Review by Erik Vlietinck the NEO 2. The transmitter enables users to wirelessly control up to
10 lights in four groups at up to 656'. It’s compatible with all other
Elinchrom Skyport devices.
Company: Rotolight Ltd. The NEO 2 performs well in continuous light mode, capable
of throwing around 2000 lux at 3', at least when it’s set to a
Price: $399.98
color temperature of around 4000K. At lower or higher temper-
Rating: atures, the light dims between 5% and 10%. Two control knobs
> PHOTOSHOP USER > F E B R U A RY 2018
let you set brightness and color temperature of the 50° light
Hot: Color accuracy; instant switching beam. The color temperature that’s shown on the LCD screen
between continuous and flash;
cinematic special effects with large red numerals is spot on. It ranges from 3100–6300K.
Rotolight paid special attention to the light’s skin-tone rendition,
Not: User guide; LED is still not as powerful resulting in a CRI of 98 for skin tone R15, a CRI of 96 overall, and
as traditional light sources
a TLCI value of 91.
In continuous light mode, you can play around with built-in spe-
cial effects such as strobe, lightning, fire, police, etc. For example,
if you’re shooting a crime scene, you can emulate the presence
[ 8 8 ]
› › REVIEWS
© Peter Muller
of a police car by putting a 712 Bedford blue filter in front of the
unit and selecting the Police effect that simulates an emergency
services light.
Before testing the NEO 2’s flash functionality, I realized that LED
light works differently from traditional flash. In fact, to use the NEO
“The soft shadows, without 2 without frustration, you should forget much of what you know
about speedlights and the power you can expect, in particular. The
a need for modifiers, is images I initially shot with my one NEO 2 looked underexposed,
because I kept positioning the light at a distance of one meter
one of LED’s benefits that or more and setting my camera at ISO 100. By positioning the
light closer to the subject and the camera at a higher ISO value,
you can easily achieve with I succeeded in exposing images correctly.
That is current LED technology for you: It will give a soft result;
one NEO 2, but if you aim at but luminous power is not yet its strength. The soft shadows,
getting an even exposure across without a need for modifiers, is one of LED’s benefits that you
can easily achieve with one NEO 2, but if you aim at getting an
a larger subject, you’ll have to even exposure across a larger subject, you’ll have to use at least
two or three NEOs.
use at least two or three NEOs.” That may look like an expensive proposition, but it will come
with other benefits. For example, the NEO 2 has a zero recycle
time and you can instantly switch to a very decent continuous
> K ELBY ON E . CO M
Sprout
If your “system” for keeping your photography business organized
consists of sticky notes here, there, and everywhere, random scrib-
bles on the back of utility bills, and other highly effective methods
Studio (wink, wink), you may want to seriously consider Sprout Studio.
This powerful, yet easy-to-use, web-based system is the first
suite of tools designed to provide photographers with the all-in-
All-in-One Photography one solution they need to run a successful, organized, profitable
Management Software photography business.
Review by Michael Corsentino As anyone knows who owns a photography business (or any-
one who aspires to will soon find out), there’s a lot more to it than
just taking pictures. In fact, 80% of the business has nothing to
Company: Sprout Studio Inc.
do with your camera at all. The average week in any photogra-
Price: Starting at $17/month phy business includes emails to prospective and existing clients,
Rating:
sending out pricing guides, marketing the business, generating
> PHOTOSHOP USER > F E B R U A RY 2018
[ 9 0 ]
› › REVIEWS
gives photographers all the online album proofs to capture integrated client feedback; sell
more wall portraits using Sprout’s in-person sales tools; do your
tools they need for studio bookkeeping; and monitor the success of your business with
[ 91 ]
REVIEWS › ›
Luminar
Luminar 2018 for Mac and Windows has new correction filters
powered by artificial intelligence. It’s faster than the previous
2018
version, it has a dedicated RAW development module, and
in 2018 Skylum Software (new name for Macphun) plans
to release a DAM platform. The upgrade also incorporates
improved features and LUT support.
Faster and New Impressive Filters
Skylum states that Luminar 2018 has been re-built from
Review by Erik Vlietinck
the ground up for dramatic performance boosts, and Lumi-
nar 2018 does load faster than its predecessor. A great new
Price: $69 but they can also be used as a creative tool. Luminar 2018
recognizes Lightroom presets that have been converted
> PHOTOSHOP USER > F E B R U A RY 2018
Rating:
into LUTs, but this requires the use of a pay-what-you-want
Hot: Adaptable interface; some filters are really,
really good; LUT support third-party tool.
With a free update in 2018—no exact timing yet—Skylum
Not: Noise reduction is only average
Software will add an image browser that supports sorting,
[ 9 2 ]
› › REVIEWS
a week with Luminar 2018, After experimenting for a week with Luminar 2018, I was
especially impressed by some of the new filters. The new RAW
I was especially impressed by
development module is much faster than the previous one,
some of the new filters. The new yet it’s a filter as well that lets you adjust Luminar’s default
lets you adjust Luminar’s default apart from that one filter, Luminar 2018 is one serious RAW
image editor with unique features that make it instantly and
de-mosaicing settings.” intuitively usable by any photographer, regardless of whether
serious amateur or professional. Even Adobe’s Lightroom plug-
ins will work with Luminar 2018! n
> K ELBY ON E . CO M
[ 9 3 ]
REVIEWS › ›
Crucial
The latest SSD that Crucial recently released comes with Micron’s
new 64-layer NAND memory. It’s the MX500 and, in a number
of tests, it’s the fastest SSD currently available.
MX500 SSD
Crucial sent me the 500-GB version. The theoretical maxi-
mum performance you may expect from this new MX-series
disk is a 560-MB/sec sequential read and 512-MB/sec write
throughput. The drive comes with some software, such as Stor-
age Executive and Acronis True Image backup software, neither
The Fastest in the Land (Currently)
of which are macOS compatible.
Review by Erik Vlietinck I took the MX500 and tested it first with the AJA System
Test and Blackmagic Design’s Speed Test. With a 1-GB load, the
MX500 wrote data at up to 470 MB/sec, and read it at a speed
of 510 MB/sec. It seems, however, the bigger the files you try
Company: Micron Technology, Inc.
to write and read, the higher the throughput: with 4-GB files,
throughput was almost as high as the theoretical maximum.
Price: $134.99 (500 GB); $259.99 (1 TB);
$499.99 (2 TB) Crucial has equipped the MX500 with a new controller,
and it’s much better than previous models at stacking com-
Rating: mands and even reordering them to streamline performance.
This means that the MX500 on its own—not even in a RAID
Hot: Speed; metal enclosure setup—is capable of sustaining the throughput that you need
> PHOTOSHOP USER > F E B R U A RY 2018
DeltaWalker
DeltaWalker Oro is the most complete and powerful version
of DeltaWalker, an application that allows you to compare
and sync files and folders. It’s used by anyone from scientists,
2.3
programmers, lawyers, and journalists to photographers. The
interface hasn’t changed much since I reviewed it 10 or so years
ago. It’s still the most intuitive way to compare folder and file
contents; however, as far as I can remember, DeltaWalker didn’t
support synchronization a decade ago and I’m pretty sure it
Compares & Finds Differences in Files
didn’t support image formats.
Review by Erik Vlietinck DeltaWalker is incredibly powerful and fast with text-based
files, even when it has to go through hundreds or thousands
of files. It will also let you edit files in place; for example, to
ensure two text files have identical content, or merge them.
Company: Deltopia Inc.
You don’t have to do this for the whole file, either; you can do
this difference by difference.
Price: $89.95 (Oro); $59.95 (Pro)
When it comes to images, the list of supported formats is fairly
Rating: limited and RAW formats aren’t supported. Comparing images
file-by-file lets you analyze them side-by-side and includes zoom-
Hot: Fast; great with text-based files; ing in on the image and setting a threshold to see only the changes
image-comparison flexibility beyond it. But to be really useful, DeltaWalker should support
image-specific metadata, such as EXIF and IPTC.
Not: No support for EXIF or IPTC metadata;
can’t set editor-file associations and When you have a lot of images, DeltaWalker will let you
choose between these instantly see which are identical on the file level, etc. and which
have been added in one location and not in another. Buttons are
also available to select only changed, added, deleted, or differing
> K ELBY ON E . CO M
files; but again, none of these operations takes into account any of
the embedded or associated metadata.
DeltaWalker has a number of other features as well, including
the ability to launch editors from within the app by setting up a
combination of a file type and extension. n
[ 9 5 ]
REVIEWS › ›
©Jen Rozenbaum
StickyAlbums 3
The lifeblood of any photography business is happy clients and
a continuous influx of new customers. Outstanding customer
service and savvy marketing that gets your images in front of as
many eyeballs as possible are the keys to success! StickyAlbums 3
Customizable Marketing Tool
to Create/Share Image Galleries is the killer app that helps easily achieve both.
Review by Michael Corsentino StickyAlbums 3, a suite of highly customizable web-based
tools, helps photographers market their business in a variety of
game-changing ways. This clever app allows photographers
Company: StickyAlbums, Inc.
to create and share image galleries and beautiful new pricing
Price: $299/year or $29/month guides (just added) with clients or prospective clients in what
functions as a self-contained smart phone app compatible with
Rating:
both iOS and Android operating systems. You can even use an
Hot: Beautifully designed online pricing guide image from a client’s photo session for the app icon (clients
templates; customizable; fully integrated
with social media sites love seeing themselves as an icon!). The galleries also look great
> PHOTOSHOP USER > F E B R U A RY 2018
[ 9 6 ]
› › REVIEWS
after a shoot along with pricing for wall portraits, albums, etc., is
quick, highly effective, and easy with StickyAlbums 3. The best
part is clients or prospects can then share the galleries you’ve sent
“This clever app allows them with the tap of a finger. Watch your images go viral!
StickyAlbums 3 lets you choose the cover image for the
photographers to create gallery, use your branding colors and logo, and tailor its fea-
and share image galleries and tures to suit your workflow. You decide whether to include
a pricing guide, embed a full-screen slide show, create a
beautiful new pricing guides clickable email-me or call-me button, use a custom URL,
(just added) with clients or etc. Suffice it to say that every aspect is customizable. Sticky-
Albums 3 is also fully integrated with popular social media
prospective clients in…a sites, making it easy for recipients to share images with col-
self-contained smart phone app leagues, friends, and family, another awesome opportunity
for viral marketing!
compatible with both iOS and As a special bonus, StickyAlbums 3 now includes templates for
beautifully designed and customizable online pricing guides that
Android operating systems.”
can be included with a gallery as a clickable link. Far superior to
paper or PDFs, these slick-looking templates provide placeholders
for product images, can be updated instantly, and you can see
> K ELBY ON E . CO M
[ 9 7 ]
R E V I EWS › ›
Photocommunication
Across Media: Beginning
Photography for Professionals
in Mass Media
As a textbook, this is a decent choice for photojournalism classes.
Edited by Ross F. Collins & Keith Greenwood
It has nine chapters from a half-dozen contributors. Some of
Review by Peter Bauer
the material is redundant (exposure is explained multiple times,
using the same concepts and, in places, different labels). You’ll
Rating: chapter, the process of moving photos from the camera or its
> PHOTOSHOP USER > F E B R U A RY 2018
[ 9 8 ]
› › R E V I EWS
[ 9 9 ]
COLINSMITH
> Photoshop Tips
BOOST YOUR PRODUCTIVITY & CREATIVITY
Hey, everyone! This time around I’ve decided to give you a handful of those “super-useful” tips. These
are those little Swiss Army knife tips: just the tip you need for the task you’re doing. I hope you enjoy
them and find them as useful as a Swiss Army knife is to a boy scout.
COMBINE IMAGES
A very popular task in Photoshop is something that Light- COPY LAYER STYLES ACROSS DOCUMENTS
room can’t do: combining different photos into a single Let’s say that you’ve created an awesome layer style—
image. We love to do this when we make composites and maybe it’s a leopard-skin texture with a double pink and
collages. Way back, Adobe introduced the Application white stroke, baked into a golden bevel. Okay, maybe some-
Frame mode (Window>Application Frame), and suddenly thing not quite so loud, but you’re working on a series of
people found it difficult to do this somewhat simple task. images, such as posters or flyers, and you want to use the
The good news is that it’s still simple; you just need a little same layer style on another image. You don’t have to repro-
knowhow and coordination. For the sake of this tip, we’ll duce it; you can easily copy it between open documents in
call the image you want to move the source, and the image Photoshop. In the Layers panel, Right-click on the layer with
where you want source to land, the destination. the layer style, and choose Copy Layer Style from the menu
With the Move tool (V) active, click-and-hold inside that appears. Go to your other document in Photoshop,
the source image, drag to the tab of the destination Right-click on your destination layer, and choose Paste
image at the top of the Application Frame—what? You let Layer Style. Amazingly, Photoshop lets you copy these layer
go already? No, it didn’t work because you let go. Don’t styles across different documents.
let go until I tell you! This is where most everyone fails.
> PHOTOSHOP USER > F E B R U A RY 2018
As I said, drag to the tab of the destination image, and FIND STOCK IMAGES WITHIN PHOTOSHOP
wait for it to pop open. Now (don’t let go of the mouse Did you know that you can find stock photos to work with
button yet) move your cursor into the middle of the directly in Photoshop? You can find photos of almost any-
destination image. Now and only now, release your thing (and some useful vectors and textures too). Make sure
mouse button, and you’ve successfully combined the your Libraries panel (Window>Libraries) is open. Look at
images. Sorry to labor the “don’t let go” part, but I’ve the top of the panel and you’ll see a magnifying glass with
seen so many people tear their hair out with frustration the words “Search Adobe Stock.” Type in the keywords
because they released the mouse button too soon while for the photo you need, and you’ll see lots of photos
performing this task. appear in the Libraries panel. When you see one you like,
[ 100 ]
› › PHOTOSHOP TIPS
Adobe Stock
preview and click the little When you’re choosing colors for type or decorative ele-
cloud icon that appears. ments in a design, it’s a nice touch to use a color that’s fea-
The photo will now be tured in the photograph. It’s really easy to grab any color
added to your library. It’s from a photo. Here’s how: With your type or design element
a lower-resolution image selected, click on the Foreground color swatch near the bot-
with a watermark, but it’s tom of Photoshop’s Toolbar. It will pop open the Color Picker,
big enough with which to and when you move your cursor over the image, you’ll see
play around. it change to an Eyedropper. Just click on your desired color
You can now open this in the image, and it becomes your active Foreground color,
image in Photoshop by dou- ready for you to use. Click OK to close the Color Picker.
ble-clicking it, or dragging Bonus Tip: You can also save this color to your Libraries
it into an open document. panel by clicking the plus icon at the bottom of the panel,
Play around with it, cut it choosing Foreground Color from the options that appear,
out, filter it, whatever you and clicking Add.
like. Once you find the exact
image that you want to use MAKE CLEANER SELECTIONS
in your project, you can When making selections, the Select and Mask workspace is
license it by Right-clicking the go-to tool to refine the edges to make them look clean
it in the Libraries panel and and sharp. There’s a little trick that I use every time, which
following the directions. gives me way better edges. You have to be able to visual-
When you license it, the low-res version will automatically ize the edges to get the best settings. Do you see the Show
be replaced by the high-res version without the watermark. Edge (J) checkbox near the top right of the Properties panel?
Turn that on, and then move the Radius slider until the edges
REPLICATE YOUR TEXT are nice and thin. Now, turn off Show Edges and you’ll see a
Choosing the exact font and size for a project is an art and marked improvement over the selection. You’re now work-
a test of patience. Once you’ve dialed in the perfect type, ing from a much better foundation when you make your
wouldn’t you like to be able to use it again in a differ- other adjustments in Select and Mask. n
ent composition? Here’s how you can grab the typography
from another document.
Say you’ve styled your text the way you want, now go
to Window>Paragraph Styles. Click the Create New Para-
graph Style icon at the bottom of the panel (it looks like a
piece of paper with the corner folded over). A new style will
appear in the panel. You can double-click the style to edit
and rename it. Then just Save and Close your document.
Okay, here’s the cool tip. You’re working in another
document and you want to use the style you created above.
Click on the flyout menu at the top right of the Paragraph
Styles panel and choose Load Paragraph Styles. Browse and
> K ELBY ON E . CO M
choose the PSD where you created the style. When you
click open, the PSD doesn’t open, rather all the styles from
that document appear in your Paragraph Styles panel and
can be applied to your current text in a single click.
[ 101 ]
ALL IMAGES BY COLIN SMITH EXCEPT WHERE NOTED
PETERBAUER
> From the Help Desk
ANSWERS TO PHOTOSHOP AND GEAR-RELATED QUESTIONS
I’m not a big fan of Bridge’s default layout. How can I customize it to best
suit my workflow?—Wally
The first step in setting up Bridge is to evaluate your work- of the Content panel to the left and you’ll make the Preview
flow. Do you regularly look at the Metadata panel or are panel wider. Use the slider below the Preview (or in the default
there only a few things in the panel that you need to see, layout, below the Metadata panel) to resize the thumbnails
such as file size and dimensions. (In Adobe Bridge CC 2018 in the Content panel. Keep in mind that if you make the
[PC: Edit]>Preferences, click on Thumbnails, and you can thumbnails too small, filenames and some of the metadata
elect to show virtually anything from an image’s metadata below get truncated.
beneath the thumbnail in the Content panel.) Do you send Once you have the panels visible, nested, and resized to
your images to Adobe Stock or Adobe Portfolio from Bridge? suit your workflow, go to Bridge’s Window menu and select
If not, you can hide the Publish panel by deselecting it in the command Workspace>New Workspace. You’ll be able to
Bridge’s Window menu. (All panels are shown and hidden name the new workspace (mine is creatively named “Pete”).
through the Window menu.) How about Favorites, Keywords, You can create different Bridge layouts for different tasks. You
and Collections? If you don’t use them, hide those panels, too. might, for example, want one layout for organizing images in
Once you have the panels visible that you need and the various folders and a different layout for proofing images. Not
others hidden, you can re-arrange and resize the panels you a problem! Save the layout you just created, then re-arrange
do use. Panels can be grouped by dragging the panel tab on as desired for the other workflow and save that workspace
top of another panel. In the default “Essentials” layout, you with a different name. And notice that Bridge automatically
can see that Favorites and Folders are nested in the upper assigns an F key to each layout.
left, and Filter and Collections are nested below. This is great My primary Bridge workspace has a full-length column
for those panels that you sometimes use, but don’t need to the left for the Folders and nested Metadata panels.
to see all of the time. You could, for example, nest Meta- (I use lots of subfolders, so the column needs to be very
data with Folders and have Folders in front. When you want long and perhaps a bit wider than you might need.) The
to check an image’s metadata, click on that tab to bring it rest of the width of the Bridge window is evenly split
to the front. between the Content and the Preview panels. My thumb-
One of the things that just about every Bridge user wants nails are set to the smallest size that doesn’t truncate the
is a larger Preview panel to better see detail in a selected filename or visible metadata, enabling me to see as many
> PHOTOSHOP USER > F E B R U A RY 2018
image. Resize panels by dragging their sides or bottom thumbnails as possible. The large Preview window is espe-
edges. Hide or nest elsewhere the Metadata and Keywords cially useful when I have more than one image selected in
panels, and the Preview is twice as tall. Drag the right edge the Content panel. n
[ 102 ]
Watch How Zach Got the Shot
SP24-70 F/2.8 G2
Exquisite performance. Meticulous details.
Introducing the new high-speed
standard zoom lens SP 24-70mm F/2.8 G2.
W AT C H T H I S L E N S I N A C T I O N