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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 J U N E 2 0 1 1

I N - D E P T H

S T E P - B Y - S T E PT U T O R I A L S

S C O T T K E L B Y S

D O W N A N DD 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 RC O O L S T U F F

THE OFFICIAL PUBLICATION OF THE NATIONAL ASSOCIATION OF PHOTOSHOP PROFESSIONALSVISIT OUR WEBSITE AT WWW.PHOTOSHOPUSER.COM

DISPLAY UNTIL JULY 12, 2011

PERFECTPORTRAITSLearn to create beautiful portraits throughthe lens of a senior photographerPLUS: How to design custom InDesign

senior portrait templates

Learn the inside secretsand hidden tips to get

you ber organized

Self-promotional ideasfor freelancers and small

business marketing advice

LIGHTROOMTIPS & TRICKS

FREELANCECOACH

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H E R N A N R O D R I G U E Z

FEATURE

52IMAGE-MAKINGJust in time for the start of the senior photography season,

Hernan Rodriguez shares some of his amazing portraitphotography and takes us through his entire workflow.From tips and tricks on posing to using gels for creativelighting effects to processing the images in Lightroom tocorrecting skintones in Photoshop, Hernan covers it all andwill have you creating your own fantastic portraits in no time.Hernan Rodriguez

DEPARTMENTS

From the Editor 6

AboutPhotoshop UserMagazine 10

Contributing Writers 14

NAPP Member Community16

Guru Awards 24

Designer Spotlight 30

From the Help Desk 92

Photoshop Tips122

Photoshop Q&A134

REVIEWS

112 Nik Silver Efex Pro 2113 OctoDome nxt: Extra Small Location Kit NIKKOR AF-S 85mm f/1.4G114 Perfect Resize 7 Professional Edition

Toast 11 Titanium Edition for Mac116 NIKKOR AF-S 28300mm f/3.55.6G ED VR TypeDNA 2118 Encrypt Stick 5 Porter Case PCi120 Photoshop Book Reviews

COLUMNS

DESIGN MAKEOVER 34 Shooting Sars

DOWN & DIRTY TRICKS 38 Kung Fu Text

Creepy Composite 44 Instant Abs 48

BEGINNERS" WORKSHOP 60 Dipping into Duotone Mode

62 CLASSIC EFFECTSFade a Photo to a Line Drawing

64 FROM BERT'S STUDIOGive Me Some Skin

66 DEKE SPACERendering Type in Gold

68 PHOTOSHOP MASTERYContent-Aware Fill on an Empty Layer

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I M A G E S B Y H E I K O

K L U G

90 PHOTOSHOP & THE WEBTo Flash or Not to Flash?

94 ILLUSTRATOR TUTORIALFrom Illustrator to Photoshop98 INDESIGN TUTORIAL

Create a Beautiful Template for Your Portrait Clients

LIGHTROOMCOLUMNS

106 UNDER THE HOODFive Tips for Making Great Slide Shows

108 UNDER THE LOUPEHide and Go Seek

110 LIGHTROOM TIPS & TRICKS

COLUMNS

THE COPYRIGHT ZONE 70 Free PhotosGet Your Free Photos Here

THE SMALL BUSINESS 74 AND FREELANCE COACHFree Work Can Really Cost You

AFTER THE SHOOT 78 Camera Raw as an Automation Tool

CREATIVE POINT OF VIEW 80 Express Yourself

DIGITAL PHOTOGRAPHERS NOTEBOOK 82 Fast Skin Smoother

THE FINE ART OF PRINTING 84 Profile Your Monitor

TABLET TALK 86 Getting Pressure-Sensitive Selections

BEYOND PHOTOSHOP 88 Adding Signage with Vanishing Point and a 3D Layer

LIGHTROOMFEATURE

102

PRECISEPORTRAITPROCESSING

The Develop module presents photographers with a logicalprogression for processing photos. This issue, well showyou a standard workflow and explain the tools and functionsfor basic portrait retouching.A.J. WOOD

DOWNLOADABLE CONTENT Whenever you see this symbol at the end of an article, itmeans there are either downloadable practice files or additionalcontent for NAPP members at www.photoshopuser.com/members/magazine.

DIGIMARC DISCOVER Download the Digimarc Discover app directly to your iPhone orAndroid-based smartphones, and then look for this symbol in articlesand ads for online content, special offers, or to play videos right onyour phone. Don't have a smartphone? Visitwww.photoshopuser. com/category/digitalextra.See page 11 for more info.

KEY CONCEPTS These icons at the beginning of columns indicate theres a short video on a tool

or function used in that tutorial at the new Key Concepts NAPP member webpageat www.photoshopuser.com/keyconcepts.

BUT WAIT THERES MORE

WarpLayer masks

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Well, were back from one of our best Photoshop World conferences ever! The feedback from NAPP members

has really been amazing, and some new facessuch as Hollands own Frank Doorhof, sports photography legend

Dave Black (who received a standing ovation at the closing ceremony), and entertainment photographer Jeremy

Cowartall won lots of new fans.

Photoshop World is NAPPs own convention, created just for you guys, and weve opened registration for our

Las Vegas conference, which is coming up September 79 at the Mandalay Bay Resort & Casino. Thousands of

Photoshop users and photographers from around the world will be there, learning everything from Lightroom to

retouching to editing video to lighting from the very best in the business, and I want to invite you to be there. If

youve never come to Photoshop World, I promise you theres nothing like it anywhere. So make plans now to join

us in Vegas. If you register now, with your NAPP member discount you can attend the full conference (with more than 80 classes to choose

from) for just $499. I hope to shake your hand in person this fall at the conference (Im teaching classes on portrait retouching, Photoshop

for travel photographers, Lightroom killer tips, and Im on a panel called Blogging for Photographers).

Here in the magazine, theres a lot going on, as well. I know a lot of you are photographers, and were heading into wedding and senior

portrait season. Thats why our cover story this issue is from Los Angeles-based photographer Hernan Rodriguez, who shares his entire

senior portraiture workowfrom lighting to posing tips and tricks, right through his postprocessing in Lightroom and Photoshop. If youre

a photographer, youve gotta check this one outeven if you dont shoot senior portraiture, the techniques youll learn apply to a wide

range of photography and Photoshop. It starts on page 52.

One of the things Im personally most excited about in this issue is a piece we did on creating promo and comp card templates that

portrait photographers can use as an add-on to offer their clients. The piece is written by one of my all-time favorite graphic designers,

NAPPs own Margie Rosenstein, and I think youre really going to love it (again, even if youre not doing portraits, youll learn a lot that can

be applied to other specialties). Its on page 98.

Also in this issue, Lesa Snider, who used to pen our Graphic Secrets column, has taken over our Beginners Workshop column

(which she will so rock at), and Dave Cross is launching a new column called After the Shoot, where hell teach Photoshop techniques

that photographers can use after the shoot, from organizing and automating their workow to retouching and more.

Weve got A.J. Wood in the Lightroom portion of the magazine with a feature on workow (p. 102), and we take a look at the work of

the Guru Award winners from Photoshop World (very cool stuff) in our NAPP Member Community section (p. 24). Lastly, our featured

artist this issue is digital illustrator Heiko Klug (p. 30). One word to describe Heikos work: Wow!

Of course, all of your other favorite tutorials, columns, and reviews are here, too. One last thing: if you get a chance, check out my

Facebook page. Im on there daily, and we have a lot of fun. Its at facebook.com/skelby (click the Like button and youll keep up with

my posts automatically). Also, dont miss our new weekly talk show The Grid with Matt Kloskowski and me (http://kelbytv.com/thegrid).

Whew! Theres a lot going on. Awesome!

All my best,

Scott KelbyEditor & Publisher

From conference to magazine, theres always a lot going on at NAPPA World of PhotoshopFROM THE EDITOR

a f e w w o r d s f r o m s c o t t k e l b y

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a b o u t p h o t o s h o p u s e r

Cover Image: Hernan Rodriguez

ABOUT PHOTOSHOPUSERMAGAZINEPhotoshop User magazine is the official publication of the NationalAssociation of Photoshop Professionals (NAPP). It is for members,by members, and is not available to the public by subscription.

As a NAPP member, you automatically receivePhotoshop User delivered right to your door (or digitally) ten times a year. Each issuefeatures in-depth Photoshop tutorials written by the most talenteddesigners, photographers, and leading authors in the industry.

ABOUT NAPP

THE NATIONAL ASSOCIATION OFPHOTOSHOP PROFESSIONALS

is a dynamic trade association and the worlds leading resource for Adobe Photoshop training, news, and education. Founded in 1998,NAPP has become the largest graphics and digital imaging association

in the world with more than 70,000 members worldwide. NAPP is open to

any individual using Photoshop in a casual or professional environment.

Theres no faster, easier, and more affordable way to get really good at Photoshop.You can join for only$99 U.S.,$129 Canada, and$99 International (digital delivery).

NAPP also offers special educational memberships.Go to www.photoshopuser.com to get more info.

MEMBER BENEFITS

PHOTOSHOP USER MAGAZINETen issues of the best Photoshop tutorial-based magazine in the industry.

MEMBERS-ONLY WEBSITEOur extensive website features time- and money-saving content.

TUTORIALS & EDUCATIONThousands of Photoshop tutorials, bonus classes, and quick tip videos.

MEMBER DISCOUNTSSave anywhere from 24 times your membership cost by using our manyindustry-related discounts.

TECH SUPPORT

Fast, friendly Photoshop, Lightroom, and photo gear help, equipmentadvice, and more from certified experts.

MEMBER COMMUNITYNAPP members range from beginners to pros and love to lend eachother a hand. Together, we have built the friendliest, most knowledgeablePhotoshop and photography forum on the Web.

NEWS & REVIEWSUnbiased coverage on the latest equipment, plug-ins, and programsin the marketplace.

MONTHLY E-NEWSLETTERProduced exclusively for members to keep you informed of everything newin the industry and at NAPP headquarters.

REGISTRATION DISCOUNTTO PHOTOSHOP WORLDCONFERENCE & EXPOThe semiannual NAPP convention and the largest Photoshop and photog-raphy learning experience on the planet. Its an amazing Photoshop event.

FIND NAPP MEMBERSHIP DETAILS AT www.photoshopuser.com or call 800-738-8513 MondayFriday, 8:30 a.m. to 7:00 p.m. EST.

scan cover image above for more information about napp

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contributingwriters

KEVIN AMEScreates evocative photographs for clients such as Westin Hotels, AT&T, and Coca-Cola. His fourth book, published by Peachpit Press, isThe Digital Photographers

Notebook: A Pros Guide to Photoshop CS3, Lightroom and Bridge .

STEVE BACZEWSKI is a freelance writer, professional photographer, graphic designer, and consultant.

He also teaches classes in traditional and digital fine arts photography. Hiscompany, Sore Tooth Productions, is based in Albany, California.

PETER BAUERis an adobe Certified Expert that does computer graphics consulting for a select

group of corporate clients. His latest book isPhotoshop CS5 for Dummies . He wasinducted into the Photoshop Hall of Fame in 2010.

JOHN PAUL CAPONIGROis an internationally respected fine artist, a member of the Photoshop Hall of Fame,

and author ofAdobe Photoshop Master Class and the DVD seriesR/Evolution .Sign up for his free enewsInsights at www.johnpaulcaponigro.com.

SEN DUGGAN is the co-author ofReal World Digital Photography andThe Creative Digital

Darkroom . He teaches at San Franciscos Academy of Art University and leadsworkshops on digital photography, Photoshop, and Lightroom.

DANIEL EAST is an author, freelance writer, presenter/trainer, and consultant with more than 20

years experience in photography, pro-audio, and marketing. Daniel is also founderand president of The Apple Groups Team support network for user groups.

KATRIN EISMANN is the author ofPhotoshop Restoration & Retouching andPhotoshop Masking &

Compositing and co-author ofThe Creative Digital Darkroom . Katrin is Chair of theMPS in Digital Photography department at the School of Visual Arts in NYC.

LAURIE EXCELL has 28 years of photography and photographic equipment sales experience.

Her images have been showcased in galleries, Audubon calendars,Camping Life Magazine , Amtrak publications, andBT Journal .

DEKE M C CLELLAND is author ofAdobe Photoshop CS5 One-on-One and the three-part video series

Photoshop CS5 One-on-One . To read Dekes blog and view his podcasts,go to www.deke.com/dekepod.

BERT MONROY is considered one of the pioneers of digital art. His work has been seen in countless

magazines and books. He has served on the faculty of many well-known institutions,written dozens of books, and appeared on hundreds of TV shows around the world.

SCOTT ONSTOTT author ofEnhancing Architectural Drawings and Models with Photoshop ,has written and edited dozens of books and videos on Photoshop, SketchUp,3ds Max, and AutoCAD. Check out his website at www.scottonstott.com.

CHRIS ORWIGa photographer and book and video author, is on the photography faculty at theBrooks Institute in Santa Barbara. His publications include video training titles onPhotoshop CS5 and Lightroom 3.

COLIN SMITHis an award-winning designer, lecturer, and writer who has authored or co-authored

12 books on Photoshop and has also created a series of Photoshop training videos.Colin is also the founder of the online resource PhotoshopCAFE.com.

LESA SNIDER is the chief evangelist for iStockphoto.com, the author ofPhotoshop CS5: The Miss- ing Manual, and several video training titles on KelbyTraining.com. Shes also amember of the Photoshop World Dream Team and founder of GraphicReporter.com.

ROB SYLVAN is the author ofTaking Stockand Photoshop Lightroom 2 for Dummies , aHelp Desk Specialist for the NAPP, and an instructor for the Perfect PictureSchool of Photography.

TERRY WHITE is the Worldwide Creative Suite Design Evangelist for Adobe Systems, Inc., authorofSecrets of Adobe Bridge , and co-author ofInDesign CS/CS2 Killer Tips andTheiPhone Book 4th Edition . Check out his tech blog at http://terrywhite.com.

JAKE WIDMAN is a writer and editor who lives in San Francisco. Hes been covering the intersectionof computers and graphic design for about 25 years nowsince back when it wascalled desktop publishing and Photoshop was just a piece of scanning software.

BEN WILLMORE is a Photoshop Hall of Famer and a modern-day nomad exploring America viamotorcoach. Catch his latest adventure at www.whereisben.com and find out about

all his books, seminars, and DVDs at www.digitalmastery.com.

ED GREENBERG& JACK REZNICKI have a new blog at www.thecopyrightzone.com where you can read about theirnew book,Photographers Survival Manual , published by Lark Books.

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X-RITE I1 PROFESSIONALCOLOR MANAGEMENT SOLUTIONS

New i1 Professional Color Management Solutions are now available from X-Rite, Incorporated. With fourdifferent prole packages, X-Rite has created a complete collection of proling tools to improve your workowin photo, prepress, publishing, and digital printing markets. Each prole package features the groundbreaking newi1Proler software technology and includes various components.

i1Basic Pro was created for imaging professionals for high-end monitor proling, monitor and printing quality verica-tion, and spot color measurement. Its an easy-to-use professional spectral color measurement solution. i1PhotoPro allows photo professionals to manage any RGB workow. It produces high-quality color results, specializing in

highlight and shadow details; achieves true colors on your LCD, CRT, and laptop; and creates awless prints. The lasttwo packages, i1Publish and i1Publish Pro, are ICC-proling solutions for prepress and publishing professionals thatoffer the ability to organize and manage complete RGB, CMYK, and CMYK+N prepress workows.

i1Basic Pro is available for $999, i1Photo Pro for $1,399, i1Publish for $999, and i1Publish Pro for $1,898. Formore information, visit www.xrite.com.

NAPPMEMBERCOMMUNITYWhere youll find common Help Desk questions; notable member achievements;quote

Facebook and Twitter; and inspirational work from your fellow members

INDUSTRYNEWS

TRAININGAND

INFORMATION

ONONE ANNOUNCESPERFECT LAYERS PUBLIC PREVIEW

onOne Software invites NAPP members to sign up for a public preview of their newest standaloneapp and plug-in, Perfect Layers. Scott Kelby has been personally involved with this and is

excited to share it with you.Perfect Layers is 64-bit compatible and allows users to edit multilayered files with

Photoshop Lightroom and Apple Aperture. You can combine multiple images into a layeredPhotoshop le, use built-in layer masks and masking tools to blend various layers together, andmore. Its superfast launch and le-opening speed will amaze you.

The Perfect Layers public preview should be available by the time you read this. For moreinformation, visit www.ononesoftware.com/products/perfect-layers.

NIKON RELEASESTHE D5100 DSLR AND ME-1 STEREO MICROPHONE

The new, versatile Nikon D5100 DSLR has a large 3", 921,000-dot, swivel vari-angle LCD moni-tor, making it easy to shoot photos and videos while on the move. You can rotate the screen

180 horizontally and vertically, enabling you to capture photos and video at high or low angles.The Special Effects Mode has unique effects to use when shooting still images or recording1080p D-Movies. With an ISO of 1006400, users have a wide range to be creative.

The ME-1 Stereo Microphone was engineered specically for DSLRs. It attaches to thehot shoe, is powered directly through the camera, and has noise-dampening componentsto minimize noise from AF operation. Nikon even included a low-cut lter to reduce noise thatisnt already blocked by the wind screen. The ME-1 works with other Nikon HD movie-capable

DSLRs, as well.The D5100 is available for $799.95 for the body only, and as a kit for $899.99 with the

AF-S DX Zoom-NIKKOR 1855mm f/3.55.5G ED VR lens. The Nikon ME-1 microphone retails at$179.95. Visit www.nikonusa.com for more information.

BY NANCY MASS AND TRISHA VAN KOUGHNETT

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ARENAL ECO ADVENTURE

PHOTOGRAPHY WORKSHOP

Join Rick Sammon and Rob Knight to explore thewonders of Costa Rica. NAPP members receive$200 off this all-inclusive, 6-day workshop.Expires June 30, 2011

TETHER TOOLS Receive a freeJerkStopper Camera Support with the purchaseof any Tether Table or Studio Vu.

STILL RIVER EDITIONS NAPPmembers receive a 10% discount for all orders ofne art digital (gicle) printing services and scanning,shipping excluded.

JHP ACTIONS JHPActions give you theexibility and ease of adding that extra boost toall your images with one click. NAPP members get50% off .

SLICKFORCE STUDIO Award-winning Art Director Clint Davis shows how tomake phenomenal composites. NAPP membersget $50 off any item or bundle .

PHOTODEX NAPP members get 20%off ProShow Web and ProShow Producer slideshow creation software .

ARTISTIC PHOTO CANVAS

NAPP members save 10% on APCs top-notchphotographic and ne art reproduction on canvas.

COREL ANNOUNCESPAINTER 12

Corel Corporation recently announced Painter 12.According to Corel, Painter 12 has unmatchednatural media capabilities, new digital art tools,new workow options, and 64-bit support for Win-dows (a later release is in store for Macs). It nowhas faster performance speed with the brush tools

(35 times faster) and also with large le attening,ipping, and blurring (1.53 times faster).

Painter 12 has a new, next-generation interface and,for an organic experience, it has RealBrush Paintingand a wide spectrum of painting media includingwatercolor, acrylic, oil, pastel, and more. Painter 12

supports PSD les, layers, brush blending, libraries, and docking panels, too.Corel Painter 12 is $429 for the full version, and upgrades are $229. Visit www.corel.com for

more information.

If you have any ideas for things youd like to see in your Community, drop us a line at letters@photoshopuser.com.

NAPPDISCOUNTS

For the latest list of discoungo to the Discounts sectionphotoshopuser.com/memb

NOTABLETWEETS

From @KStohl: Vanellis dream orScott Kelbys nightmare? (http://twitpic.com/4h9ya6)

From @nicolesy: Some of thereplies I get from NAPP memberswhen I solve Photoshop problems

are hilarious. I think I just got amarriage proposal! LOL.

From @OegeSmedinga: Scott Kelby,great show! Very fresh. Learned alot about how to leverage socialmedia as a photographer. Thanks!(#Episode1 #TheGridLive)

THE GRID PROGRAMMING CHANGE

There was a slight programming change for Scott Kelbys newest KelbyTV show, The Grid (http:// kelbytv.com/thegrid). Its still live, and it still airs every Monday but the show now starts a half-hourearlier at noon EDT. If you have a reminder set up so you can catch it live, please make sure youchange the start time to noon. Also, if youd like to interact on Twitter during the live show withyour comments, be sure to use #TheGridLive hashtag in your tweets and follow @TheGridLive(http://twitter.com/TheGridLive). As always, every episode will be archived on KelbyTV, so you canwatch it any time.

This issues NAPP member of note is the energetic; tattooed goddess; and concert, celebrity, ready-for-anything photographer, Krysten Marlette (see photo on p. 22). Krysten hails from Orlando, Florida,and started shooting when she was just 14 years old (her rst show was Aerosmith).

She enjoys the stress of being able to capture an artists character in three songs or less. This sen-

timent soon became evident when she joined fellow NAPP member, Jeff Tamagini, to co-author the of-cial PSW Keynote live blog and handled it with ease. After that, she was soon popping up on everyonesradar at PSW, not only for her photography work, but for her contagious energy, as well. Keep an eyeout for Krysten and her work in the photography world. Her star is just starting to rise and its going toshine brightly. And that new tattoo she just got with the letters NAPP in it looks pretty spiffy, too.

Heres what she had to say about NAPP: Being a NAPP member has not only created another socialgroup to hang out with but the information and support from the Web is incredible. I can nd a solu-tion to any challenge that may arise or consult another NAPP member for their insight.

Follow her work at www.krystenmarlette.com.

If you have any news youd like to share, please send it to FB@KelbyMediaGroup.com for consideration.

NOTABLE NAPP MEMBERS Showcasing the accomplishments of our members

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M A G E S O F T H E W E E K

FACEBOOKNEWS

It nally happened. Corey Barker has created his own page on Facebook (www.facebook.com/Planet-Corey). The jury is still out on whether or not this is a sign of the apocalypse.

In other Facebook news, were trying out the idea of localized NAPP fan pages. This is where folkscan go to get the latest news from NAPP and interact with other local NAPP members, photographers,and Photoshop enthusiasts. Heres a list of whats up and running so far:

NAPP UKRun by our ever-present UK NAPP Evangelist, Dave Clayton, the NAPP UK page (www.facebook.com/nappmember) is something all UK NAPP members on Facebook should join. Its yourplace to be heard. Dave is largely responsible for getting Scott to bring his Kelby Training LIVE tour tothe UK last year, and its the place where we intend to send UK companies to convince them that UKNAPP members are plenty in numbers and interests, and that they deserve more discounts. If you wantto see more discounts and more live seminars, help us help you. Join now!

NAPP Canada Hey, Canada, same goes for you! Help fellow Canadian NAPP member, PatrickLaMontagne, grow NAPPs Canadian presence on Facebook (www.facebook.com/NAPPCanada) sowe can show Canadian companies why they need to give you more discounts. Plus, you can createmeetups, share pictures, and join Patricks discussions.

NAPP Sweden Were not sure how many Swedish NAPP members there are but NAPP forumfavorite, Erik Bernskiold, is running our rst bilingual fan page (www.facebook.com/NAPPSweden),and creating a small (for now) but active community that we can only assume is lled with wonderfulNAPP news, since none of us understand his native tongue.

NAPP Chicago Were also testing localized pages in a few U.S. areas and NAPP Chicago (www.facebook.com/NAPPChicago) was one of the rst. Co-administered by one of the rst NAPP Evange-lists (and another forum favorite), Firgs, and Chicago Photoshop meetup organizer, Anna Aaron,NAPP Chicago is leading the pack in hosting local events. If youre in or near the Chicago area, this isthe page for you.

NAPP Arizona Our last beta NAPP Facebook page is NAPP Arizona (www.facebook.com/NAPP-Arizona). Run by university professor James Gordon Patterson, NAPP Arizona is turning into a great,localized educational resource that will only get bigger and better with more members. Arizona is abig state and James can only cover so much, so if thats the state you live in, this is the page for you.Please join and share whats going on in your corner of this great state.

If youre wondering where your localized NAPP fan page is, well, were rolling them out a little at atime. Pages for Las Vegas and Texas will be up soon and were hoping to establish NAPP Australiaand NAPP Germany soon.

This is where you come in. Were looking for active NAPP community members who are social mediasavvy and willing to put forth the effort and do what it takes to grow a localized NAPP fan page. Youneed to be willing to take the initiative on certain things (since you know your area best) and have thedemeanor it takes to communicate in a friendly, professional manner (no matter whatwe all knowhow it can get in the online world) that is betting of a NAPP representative.

If thats you, please send an email to FB@KelbyMediaGroup.com with the words, NAPP Fan Pageand the area youre from in the title. Be sure to tell us your qualications, social media experience andmetrics, and ideas for your areas page. Were looking for people in other countries (especially Germanyand Australia) and larger metropolitan areas. If youre not in a large area but feel you can handle beingthe Facebook rep for your entire state, wed like to hear from you, as well. ( Note: These Facebook pagesare still in beta and can end or change at any time. Theres no guarantee that there will be a page foryour city, state, or country, or that volunteering to run a page will automatically grant the right to do so.Thanks in advance for your patience with this process.)

NOTABLE TWEETS

From @cwardphotos: Light It Shoot It Retouch It LIVE!with Scott Kelby in Minneapolis was great and I learned

a lot. Highly recommended. Heres my review http://bit.ly/gfF0XI.

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NEW HP DISPLAYS, DESKTOPS,AND MOBILE WORKSTATIONS

The new HP DreamColor LP2480zx Professional Display (starting at $2,499) is something to takenote of. This 24", wide-aspect LCD backlit monitor is the worlds rst display to use the Dream-Color engine technology. It delivers outstanding color accuracy, uses 30-bit LCD panel technologyto provide more than one-billion active colors, supports the best-in-class off-axis performance, andmore. You can work with deep colors; use CRT-class black and programmable white; and use theoptional HP DreamColor Advanced Proling Solutions.

The new HP Z210 Convertible Minitower (CMT) and Small Form Factor (SFF) Workstationsare low-cost, high-performance machines. Theyre both reliable with fast Xeon processors, ECCmemory, enterprise-class storage, and application certication. Each offers new Intel HD GraphicsP3000/2000 and 2D and 3D professional graphics options from NVIDIA and AMD. With a 20%performance improvement over the previous series, the HP Z210 CMT and SSF Workstations areenergy efcient and compatible with various devices. The HP Z210 CMT Workstation starts at$659 and the HP Z210 SFF Workstation starts at $569.

HP also has three new mobile workstations in their EliteBook w-series lineup. Each mobileworkstation includes an HP DisplaySafe frame, a chemically strengthened glass touchpad, and abrushed gunmetal nish. The HP EliteBook 8760w (starting at $1,899) is the most powerful mobileworkstation from HP. It has a 17.3" high-denition screen and the option of three hard drives andRAID 5 support, which is a rst for an HP mobile workstation. The HP EliteBook 8560w (starting at

$1,349) is HPs most versatile mobile workstation. It has a 15.6" high-denition display, and theoptional HP DreamColor display allows for more than one-billion active colors. The last mobileworkstation, the HP EliteBook 8460w (starting at $1,299), is the smallest and lightest. It has a 14"high-denition display and weighs 4.9 lbs. Its offered with an AMD FirePro 1-GB video memoryprofessional graphics card for true on-the-road video performance.

For more information on any HP product mentioned, visit www.hp.com.

EGRID

p://kelbytv.com/thegrid)ts: Scott Kelby and Matt Kloskowskimat: Live Talk ShowTime: Every Monday at noon EDT (rebroadcastes online every Tuesday)

OTOSHOP USER TV

p://kelbytv.com/photoshopusertv)ts : Scott Kelby, Dave Cross, and Matt Kloskowski

mat: Taped Photoshop tutorial showTime: New episodes every Tuesday (duringular season)

OWN TV

p://kelbytv.com/dtowntv)ts: Rafael RC Concepcion and Larry Beckermat:

Taped DSLR tips and techniques showTime: New episodes every Thursday (duringular season)

K DAVE

p://kelbytv.com/askdave)t: Dave Crossmat: Taped tutorial and quick tipsTime: New episodes every Monday

PP NEWS

p://kelbytv.com/nappnews)t: Larry Becker

mat: Taped news showTime: New episodes every Monday

RRYS CHEAP SHOTS

p://kelbytv.com/cheapshots)t: Larry Beckermat: Taped, segment rebroadcastedTime: Every Friday

HTROOM KILLER TIPS

p://kelbytv.com/lightroomkillertips)t: Matt Kloskowski

mat: Taped tutorial and quick tipsTime: Approximately every 23 weeksset air date)

OTOSHOP KILLER TIPS

p://kelbytv.com/photoshopkillertips)t: Matt Kloskowski

mat: Taped tutorial and quick tipsTime: Dailye: On temporary hiatus. Reruns available.

YERS TV

p://kelbytv.com/layerstv)ts: Rafael RC Concepcion and Corey Barkermat: Taped Adobe Creative Suite tutorial showe: On Permanent hiatus. Reruns available.

ELBY TVGUIDEEEP ON TOP OF YOUR FAVORITE KELBYTV SHOWSTH THIS HANDY GUIDE

ADOBE RELEASES CS5.5NAPP RELEASES SPECIAL CS5.5RESOURCE PAGE

On April 11, 2011, Adobe Systems Incorporated announced the release of Creative Suite 5.5,and while there are no signicant changes to the Photoshop program (they pretty muchknocked it out of the park the rst time around), there are a few things that we thought you,as Photoshop users, might like to know. To help you, weve created a special NAPP CS5.5landing page where youll nd videos from Corey Barker about some things that may helpenhance your Photoshop experience, and links to download this upgrade. Get the scoop onCS5.5 at www.photoshopuser.com/cs5update.

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NAPP COMMUNITY

So, youve arrived at Photoshop World (PSW), checked into your hotel room,and have a sense of the classes you want to take. Now what? Wait around

for classes to start? While you might think this is a good idea, classes atPSW are just one aspect of the conference, and youre not doing yourself justice if you take this approach. Theres a whole other realm to the confer-encethe social sideand you can get just as much out of this side as youcan from the classes. But like everything, you only get out of it what you putinto it.

There are four main social events at PSW. It begins with the NAPPforum members dinner, an event in which the active forum members gettogether, have a casual dinner, and catch up.

Immediately following is the PSW Tweetup, started by social medianinja, Nancy Mass. What was once a small gathering of Twitter users hasgrown into a cant-miss pool party. Photographer Erik Valind sets upa cool mobile studio to take everyones portraits and uploads themto Flickr almost instantly. At the most recent PSW Tweetup in Orlando,Florida, NAPP lmed an episode of D-Town TV !

After a long rst day of classes, youll be tempted to head back toyour room to relax. Instead, get a ticket to the After Hours Party at B.B.Kings on the East and at House of Blues on the West. This is where allthe instructors, vendors, and in-the-know attendees come to have afew drinks, get some good food, and listen to Big Electric Cat, theworld-famous PSW band, anchored by none other than Scott Kelby!Seriously, these guys rock and play all of your favorite 80s and 90scovers. If you attended a class where an instructor really struck a cord

with you, this is also the perfect opportunity to introduce yourself,say thank you, and perhaps pick his or her brain a little more.

The nal ofcial social event is Midnight Madness. Here youreguaranteed to learn nothing about Photoshop but youre guaranteedto have a good time. It all starts with Vanelli (who takes a wholeother article to explain), who serves as the unofcial security to

the event, which means hilarity will ensue as he leads the crowd in a series o f games for some reallycool prizes. The instructors blow off steam, poke fun at one another, and play games with the audience for more great prizes.

These are just the ofcial social activates. With all the friends youll make along the way, why not put together an impromptuphoto shoot or hit up Dennys at 3 a.m. for some food and a gripe session about the photo industry. The week is what you make of it, sowhy not make it unforgettable and the best experience of your life.Jeff Tamagini

THE SOCIAL SIDE OF PHOTOSHOP,A WHOLE OTHER REALM

I just wanted to say thank you for an incredible time in Orlando, Florida, at Photoshop Worldit was amazing. From the time I regis-tered online to the closing ceremony it was just incredible! You all were so organized and offered so many great classes that I still am inawe of what I just got to experience! Not to mention the instructors and the talent that you have, not only for the skills of photographyand/or knowledge of Photoshop, but the way they deliver the message. Kudos to the entire staff that put this togetheryou all couldnthave been nicer and more professional (and a ton of fun!). This was my rst PSW but wont be my last! Thank you!Keri McDaniel, Snapped Images, Atlanta

EMAIL FROM:

FIRST TIME PSW ATTENDEE

scan the image above for more behind-the-scenes coverage of psw

J E F F T AMAGIN I

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Awards Be st o f Show

E R IC EG G L Y

I l l u s t r a t i o n J . M A R IE M E T Z

The National Association of Photoshop Professionals (NAPP) is proud to announce the winners of the 2011 Guru Awards. The wicategories, including the Best of Show, were revealed during the Opening Keynote of NAPPs semiannual convention, PhotoshoOrlando, Florida. Sponsored by B&H (www.bhphotovideo.com), the ceremony featured images and photography from internationa wide variety of styles, techniques, and skill levels. Trying to narrow it down to a single winner in each category from hundreds always difcult, said NAPPs creative director, Felix Nelson. Its such a subjective call sometimes, but the judges do a great job whom they think are deserving of the recognition.

CONGRATULATIONS TO ALL THE 2011 PHOTOSHOPWORLD ORLANDO GURU AWARD WINNERS!

2011 PHOTOSHOP WORLD ORLANDO, FLORIDAG uru

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P h o t o g r a p h y W A Y N E H A Z A R D

Phot o M ont a g e L E O N A RD L U Z

ARTISTIC

COMMERCIAL

ILLUSTRATION

PHOTO MONTAGE

PHOTO RESTORATION

PHOTO RETOUCHING

PHOTOGRAPHY

STEPHEN PETRANYKIMBERLY MINCER

JENNI THAYERGLYN JACKSON

SAM SHADOWJOE LAPINSKI

KAV LUZ

JERRY ARNOLDPHIL SCARSBROOK

KATIE GIARDJOE LAPINSKI

PAUL SADLERJENNI THAYER

e Finalists

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DESIGNER SPOTLIGHT

d e p a r t m e n t

CHRIS MAIN

ON THIS PAGE: THE END OF PANDORA; OPPOSITE PAGE (COUNTERCLOCKWISE FROM TOP): HYDRO; THE OMEGA; PASSEMENT RAPID

HEIKO KLUG

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ABOUT

[ CONTACT ] Heiko Klug / Heiko Klug http://jesar-one.com

ALL IMAGES BY HEIKO KLUG

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Q&A

PSU: What tools and software do you use to create your images?KLUG: I mostly use Photoshop and a Wacom tablet for my work. When it comes to3D, I use 3ds Max. I also shoot a lot of stock photos myself with a Canon EOS 50D anda big range of lenses.

PSU: Youve said that your work is mostly inspired by music and movies.What types of music and movies inspire you the most? Are you consciouslysearching for ideas when youre listening to a song or watching a movie?KLUG: To be honest, there isnt a specific genre that inspires me most. Forexample, for my workThe Omega , I was listening to a band called Opeth, which isa progressive death metal band. I also have some pieces that are inspired by jazzor trip hop music. I think its the same thing with movies. I dont really know if Imsearching for some inspiration, but I honestly think it just comes to my mind whenI hear or see something, and then one thing leads to another. Im most inspiredwhen Im alone and feel good and comfortable.

PSU: Your images contain lots of amazing detail. How do you know when youre finally done with a piece? How long does a typical piece take you?KLUG: Good question. Its hard to say, Okay, Im done. I often keep my finishedwork a few weeks before publishing them and take a closer look at them after a few days.I think its important to get some kind of distance. When you work for weeks on thesame image, its hard to judge it without that distance. Its important to see other thingsfor a while and come back to it later.

The time I spend on my work depends on what Im doing exactly. Overall, it takesme a month to finish something from start to finish.

PSU: Speaking of detail, do you work at a large size in Photoshop to betterwork on the intricate details?

KLUG : I usually work with large files, say something around 6,000 pixels wide or high.

HEIKO KLUG, better known as Jesar One, is 28 years oldand lives in Oberhausen, Germany. At 14, his art career beganin the form of grafti, which helped him learn about ow, shad-ing, and perspective. In 2004, Heiko turned his attention to thedigital canvas and began using Photoshop and the Internet topublish his work. He was soon working for clients such as EckoUnltd., Doritos, The Marketing Arm, Cisowianka, Ars Thanea,FALKmedia, Taste!, Southwest Gas, and NVIDIA. He currentlyworks as a digital media designer in an advertising agency.

HEIKO KLUG

I need this space to work everything out perfectly. Its the key to getting a good amount of detailand brilliance in an image.

PSU: You mentioned that you shoot a lot of your own photos for your work.Do you ever use stock images, as well?

KLUG : I often use stock photos, mostly of stuff I cant shoot by myself or if thephotos would take more time and be more expensive than buying a stock image. ButI do shoot a lot of stuff myself. I only do big photo shoots when I need a person in a pre-cise position; for example, as in thePassement Rapid image. I photographed everythingin that image: the guy, the textures, and the skyscraper in the background.

PSU: In your freelance work, youve rejected clients in the past because youdidnt like what they had planned for your work, or you just found the job boring.How has that impacted your career and art?

KLUG : I rejected those works because I also have a full-time job in an agency. Thatmeans I spend my free time working, and in that time I like to work on things that I like,that I can have fun with, and can stand 100% behind the project. Its very important to

make something really good. I dont really know how that has affected my career, butwhen Im looking back I dont think it could be for the worst.

PSU: You refer to yourself as an autodidactic, meaning youre self-taught.How did you teach yourself, and are you still learning new things today?

KLUG : Im totally self-taught, yes. I learned most things with the Internet.There are millions of tutorials out there. Its very important to experiment a lot withthe programs. Another important thing is to get connected to other artists and sharesome knowledgegive some and take some. I often get emails from people askingwhere they can find tutorials to achieve a style similar to mine, but to be honest,I didnt do something completely new or magical. Its stuff you find in thousands oftutorials out there. Just transfer those techniques to your concept. I think thats the key.I also learn new stuff every day.

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The Patriots Jet Demonstration Team rst took wing in 2003. CalledRed Star Airshows, they ew two Russian MIGs and had a Russianvodka for a sponsor. Their initial logo formed the basis for the one theystill use today: a star shape with jets ying around itrst two, andnow six.

Cliff George, the teams photographer, says that after 9/11 popularsupport for a Soviet-themed show dropped off, so the group renamed

itself and adopted a more patriotic name. These days, the Patriots JetDemonstration Team y L-39 Albatross jets manufactured in the formerCzechoslovakia and perform at a dozen or more air shows a year,mostly on the West Coast. They often share a bill with the Navys BlueAngels or the Air Forces Thunderbirds. While several team membersare active-duty and ex-military, the group is all volunteer. Their currentsponsors include Frys Electronics and Hot Line Construction.

In addition to the star and the planes, the current logo featuresred, white, and blue trails behind the jetsa feature of the teams liveshows. The team likes the star shape and overall patriotic feel of thelogo, which appears on everything from the jets themselves to caps,shirts, and their support truck. But it shows its haphazard evolution.

The current logo feels stale, says George. Its been more or lessthe same logo for almost 10 years. Weve updated the team and per-formance, but not the logowe just keep adding more planes. Theteam would like a new logo that makes them look as professional andcapable as the Blue Angels and the Thunderbirds. Wed like it to tellpeople, These guys are players, not just sideliners, says George. Andtheyd like the logo to communicate the love of ying that they believecomes through in their shows.

With all that in mind, we asked three designers to help the PatriotsJet Demonstration Team logo take off.

JAKE WIDMAN is a writer and editor who lives in San Francisco. Hes been covering the intersection of computers and graphic design forabout 25 years nowsince back when it was all called desktop publishing and Photoshop was just a piece of scanning software.

Patriots Jet Demonstration Team / www.patriotsjetteam.comCLIENT

shooting stars

DESIGN MAKEOVER

c o l u m n

JAKE WIDMAN

MAKEOVER SUBMISSIONSWERE LOOKING FOR PRODUCT PACKAGING OR LABELS, PRINT ADVERTISEMENTS, WEBSITES, AND MAGAZINE COVERS THAT ARE CURRENTLY IN THE MAR-

KETPLACE FOR FUTURE DESIGN MAKEOVERS. SO IF YOU OR SOMEONE YOU KNOW HAS A DESIGN THAT YOUD LIKE US TO CONSIDER MAKING OVER, OR

IF YOURE A DESIGNER AND YOUD LIKE TO BE CONSIDERED FOR A FUTURE DESIGN MAKEOVER, SEND US AN EMAIL AT LETTERS@PHOTOSHOPUSER.COM.

BEFORE

Its been more or less the

same logo for almost

10 yearswe just keep

adding more planes.

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Ruth Johnson / www.ruthjohnson.bc.caDESIGNER

d e s i g n m a k e o v e r

Simplifying the

logo down to

the necessary

elements will allow

it to be used in

multiple contexts

to communicate

the message of

the brand

AFTER My initial reaction to the original Patriots Jet logo was that it appearedtoo busy and a little outdated. After researching the team, what theyrepresented, and what they were looking for in their new image, Iwanted to create a logo with a modern feel that still had a patrioticappearance and reected their original image. I also wanted to visu-ally communicate what the team represents.

After brainstorming and some initial sketching, I combined the

name of the team and the jet image in a way that illustrates the jetand colored smoke in a seamless logo. For the typography, I chosea heavy sans-serif typefaceInterstatewhich will allow the typeto stand out at distance. I feel this is a crucial element in the designdue to the ways the logo will be displayed. I used the star elementvery subtly within the type, so the brand can hold on to its roots butalso develop in another direction. Simplifying the logo down to thenecessary elements will allow it to be used in multiple contexts tocommunicate the message of the brandon the side of the plane,on jackets and caps, and on other marketing material.

For the color scheme, I retained the classic American red, white,and blue. They represent the teams patriotism and at the same timethe jets signature smoke trails. I paired these with a dark gray thatwould complement them without being distracting. I used the grayfor the type and the airplane image.

The nal logo clearly communicates the Patriots Jet Team brand;its easily recognizable and has longevity. It will provide the teamwith a professional image to communicate its passion to peers andto its audience.

RUTH JOHNSON

Ruths love for art started at a very young age with drawing and painting. That eventually led to her studying at the Birmingham (U.K.) Institute ofArt and Design, where she gained a bachelors degree in visual communication, specializing in graphic design. In 2007, Ruth traveled to the beautifulmountains of Whistler, British Columbia, and has called the area home ever since.

Since her move, Ruth worked freelance and then founded her own design company, the self-titled Ruth Johnson graphic design. She works forpremier clients in the Whistler area on projects from branding and advertising to Web designs.

When Ruth isnt designing, shes out in the mountains snowboarding, dog walking, painting, or taking photos. Shed like to credit her uncle,Alan Stafford, a pilot and a huge fan of all things airborne, with her inspiration for this logo design..

APPLICATION USED : Adobe Illustrator CS5

ABOUT THE DESIGNER

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Elnaz Sarrafzadeh / www.edesigngroupus.comDESIGNER

DESIGN MAKEOVER

c o l u m n

JAKE WIDMAN

I focused the new

logo on the six jets

in order to represent

a sense of pride in

the teams display

and showmanship.

AFTER Im truly inspired by the simple term patriotism, which is typicallyexpressed by the vivid colors of red, white, and bluealso the colors ofthe streams these jets produce when in air. The entire premise for thislogo design should be one that provides the viewer with an under-standing of what the team stands for and what they do in their perfor-mance. For that reason, I made the focal point the jets themselves.

The old logo appeared cluttered and didnt sufciently represent

that these jets are used for show; it thus lost something and failedto convey the sense of unity such a team-based organization wouldhave. Nevertheless, it had some vital contributions to the founda-tion and evolution of the new logoI kept some elements intact butenhanced or improved them.

I focused the new logo on the six jets in order to represent a senseof pride in the teams display and showmanship. I placed the jets in thecenter of the logo, spreading them out evenly so that a viewer can eas-ily spot them and give them their deserved attention. The arrangementof the jets, with added emphasis on the colored streams, suggests anairshow performance better than the old arrangement did. I enlargedthe star itself to frame the jets and for its suggestion of air and height.

I thought that the team name printed over the star was inconsis-tent with the rest of the logo, in that the colors used didnt match orcomplement one another. I chose the bold font Impact for the text todemonstrate power and stability. I put all these features together into alogo that would exemplify all of the important elements of the Patriots.

ELNAZ SARRAFZADEH

Since her youth, Elnaz has been prodigiously creative with an undying passion for art. As a teenager, she chose graphic design as her niche andhas never regretted it to this day. Elnaz attended a tech and art school back in her home country of Iran and graduated with honors. She wenton to earn an associate degree in graphic design while interning at different graphic design studios to gain experience.

Since beginning her journey into graphic design, Elnaz has gained a vast amount of experience in the eld. She moved to the United Statesfour years ago to continue her education and is currently enrolled at California State University East Bay, studying Web design. In the meantime,she runs her own design rm, E Design Group, which was established in 2008 in San Jose. So far, shes amassed more than eight years of hands-on experience in the graphic design and print industry and almost four years in Web design.

APPLICATION USED : Adobe Illustrator CS4

ABOUT THE DESIGNER

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Step One

Step Two

Step Three

COREY BARKER

c o l u m n

Kung Fu TextDOWN & DIRTY TRICKS

Recently, I saw a trailer for the new movie Kung Fu Panda 2 and was struck by the use of 3D in the title. The good

news is we have the ability in Photoshop CS5 Extended to create 3D text thats very similar to whats being seen inmainstream media today.

STEP ONE: Begin by opening the project le or create a newdocument (File>New) and follow along. [ NAPP members may down-load the le used in this tutorial at www.photoshopuser.com/mem-bers/jun11-downloads.html. All les are for personal use only. ] Ourdocument is 12x7" at 100 ppi with a black background.

We have the two text layers because well be creating two 3Dobjects: one with the words KUNG FU in Serpentine Bold at 115 ptand the color set to yellow (R:224, G:146, B:47), while the other hasthe word BEAR set in the same font but at 192 pt and in red (R:134,G:19, B:22). In the Layers panel, make sure KUNG FU is the top layerand BEAR is below that. ( Note: If you dont have the Serpentine font,you can substitute it with any bold font of your choosing.)

STEP TWO: Click the KUNG FU layer in the Layers panel to makeit active and choose Edit>Transform>Warp. Click on the Warp menuin the Options Bar and choose Arc Upper. By default, it will expandoutward. If you zoom out you can grab the control handle at the topof the arc and drag it down to make the text arc inward, or you cango to the Options Bar and set the Bend to around 17. When done,press Return (PC: Enter) to commit the transformation.

STEP THREE: Repeat this process for the BEAR layer, only thistime choose Arc Lower from the Warp menu. Again, you can grabthe control handle at the base of the arc and drag it upward, orset the Bend to around 30. Press Return (PC: Enter) once againto commit.

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Step Four

Step Five

Step Eight

Step Nine

DOWN & DIRTY TRICKS

STEP FOUR: Activate the KUNG FU layer and choose 3D>Repouss>Text Layer. In the dialog that appears, click Yes to raster-ize the text. This will convert the layer into a 3D layer, extrude thetext, and open the Repouss dialog. The default extrusion is a bitmuch, so go to the Extrude section and change the Depth settingto .2 to shorten the extrusion. Next, go to the Bevel section and setboth the Height and Width to 2. Click OK.

STEP FIVE: Activate the BEAR layer and follow the step aboveto apply the Repouss effect to this text. When the Repouss dialogappears, set the Extrude Depth to .1 and the Bevel Height andWidth to 1. Click OK when done.

STEP SIX: Shift-click the KUNG FU layer in the Layers panel sothat both text layers are selected, then choose 3D>Merge 3DLayers. This will combine both 3D objects into a single 3D layerso they can reect and cast shadows on each other.

STEP SEVEN: Now go to theLayers panel and youll see Textureslayers just below the main 3D layer.Locate the BEAR Extrusion Materialand double-click it to open the texturele as a separate document. Drag thisdocument to the side so you can seethe original document with your text.Click on the Foreground color swatchto open the Color Picker. Click on theKUNG FU text to sample the yellowcolor. Click OK to close the ColorPicker. Press Option-Delete (PC: Alt-

Backspace) to ll this document with the same yellow color usedfor the KUNG FU text. When done, close the document and savethe changes. This will change the color of the BEAR texts edge.

STEP EIGHT: Even though both objects are on the same layer,we still need to change each objects angle. To do this we must usethe Mesh tools in the 3D panel (Window>3D). Click-and-hold onthe third tool down on the left side to reveal all the 3D Mesh tools,and choose the 3D Mesh Rotate tool. This tool is content-sensitive,

meaning it will highlight each 3D object as you move your cursorover it. First, hold down the Shift key and click-and-drag down onthe top 3D object. This will tilt the top of the text toward you slightly.

STEP NINE: Next, move your cursor over the bottom object,hold down the Shift key, and click-and-drag up to tilt the text backin space. The idea here is to tilt both text objects so the upper textwill be reected in the face of the lower text.

After tilting the text layers, you may need to adjust theirpositioning a bit. Return to the 3D panel, under the 3D Meshtools, and choose the 3D Mesh Pan tool. Use this tool to clickon each object and drag up or down to position them a littlecloser together without intersecting.

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continued on p. 42

Step Eleven

Step Thirteen

Step Fourteen

Step Fifteen

DOWN & DIRTY TRICKS

STEP TEN: It might be necessary to slide the top object backin 3D space. To do this, choose the 3D Mesh Slide tool in the 3Dpanel, and click-and-drag up to push it back in space, or down tobring it forward.

STEP ELEVEN: While still in the 3D panel, click on the thirdicon at the top to access the 3D {Materials} section. In the Materi-als list at the top, make sure the BEAR Front Ination Material isselected. Go down to Reection and set it to 30, then click on therst icon at the top of the 3D panel (Filter By: Whole Scene).

STEP TWELVE: We need to add a couple spotlights to addsome glare effects to the text. Click on the Create a New Lighticon at the bottom of the 3D panel and choose New Spot Light from

the list. You may see the lightappear on the 3D object but itshard to move the light around if

you cant see the source. Onceagain, at the bottom of the3D panel, click the Toggle Misc.

3D Extras icon and choose 3D Light to turn on the 3D wireframes.These allow you to see all the lights in the scene. Set the Softnessto 5% and the Falloff to 60.

STEP THIRTEEN: To move the spotlight around, click-and-hold the fourth icon down on the left in the 3D panel and youll seea 3D Light Rotate, Pan, and Slide tool for changing the light positionand angle. Begin by selecting the 3D Light Pan tool and make surethe Spot Light 1 is selected in the list above (you may need to scrolldown the list to nd it). Click in the canvas area and drag to theright to move the spotlight to the right of the text. ( Tip: The lightsare also content-sensitive like the mesh objects. Just place your cur-sor over the wireframe then click-and-drag.)

STEP FOURTEEN: Return to the 3D Light tool and choose the3D Light Slide tool. Go into the canvas area and click-and-drag upto push the light back in space so its just behind the right side ofthe text. Then, select the 3D Light Rotate tool. Use this to click-and-drag the light around to change the angle of the light so that itspointing forward and down, illuminating the edge of the KUNG FU

text and lighting up the front face of the BEAR text. ( Note: If youvenever used the 3D Light tools, they can be frustrating. Just playaround with them to get used to them.)

STEP FIFTEEN: To see the light glare in the text, we must goto the 3D panel, into the Materials section. With the BEAR FrontInation Material highlighted in the list at the top, change both theGloss and Shine to 50%. Youll see the glare appear on the text.Depending on the position of your spotlight and angle of your text,you may need to experiment with these settings. For added dimen-sion, click on BEAR Extrusion Material in the list at the top, and set

the Gloss to 90% and set Shine to 75%.

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Step Sixteen

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STEP SIXTEEN: Repeat Step Twelve to add a second spotlightbut leave the Softness and Falloff at their defaults. Position thenew spotlight on the left side, as shown here until you see the glareappear in the surface of the text.

You can see the light and glare, however, you cant see theshadow and reections until you render them. To do this, go tothe 3D panel and click on the rst icon at the top for the Filter By:Whole Scene section. Click the word Scene at the top of the list.Now go to the Quality menu and choose Ray Traced Draft to geta preview of the shadows and reections. It will do a progressiverender, so let it make a few passes to better see the effect. This willhelp you determine if you need to reposition the lights or changeany of the surface properties.

You can leave it in Ray Traced Draft mode while you makechanges; however, it will try to render each time you make achange. You can also go back to the Quality menu and changeit back to Interactive. If you dont see the shadow and reec-

tion of the words KUNG FU in the word BEAR, try movingKUNG FU forward in space using the 3D Mesh Slide tool.

Heres the nal result. We added a stylized 2 to complete theeffect. Check out the Digital Extras page at www.photoshopuser.com/category/digitalextra to see a video tutorial on creating thenumber 2 in this nal image.

scan the nal picture for a video tutorial

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STEP FOUR: Click on the Create a NewLayer icon at the bottom of the Layers panelto create a new layer (Layer 2). Change theblend mode to Overlay. Press D then X toset the Foreground color to white, thenchoose Filter>Render>Clouds. Create anothernew layer (Layer 3). Choose the Brush tool (B)and with a large, soft-edged brush, paint in alarge glow in the center of the document.

STEP FIVE: Open the portrait imagele (the vampire-looking person in ourexample). Using the selection tool ofyour choice, make a selection of theperson, choose the Move tool, then click-and-drag that selection into the back-

ground document weve created (Layer 4).Reposition and resize as necessary (seeexample). Press Return (PC: Enter) toapply the transformation.

STEP SIX : Add another new layer (Layer 5). Change theblend mode to Color and lower the Opacity to 75%. Click on

the Foreground color swatch, choose a light tan color (R:210,G:189, B:186), and click OK. Choose the Brush tool and use asmall, soft-edged brush to paint some color over the face andhands (dont forget the hairline in the upper portion of the fore-head). This will appear as a slight hint of color, which is okay(thats part of the effect). Now, change the Foreground color togray (R:175, G:181, B:185) and paint over the hair on the left sideof the image to add a soft, bluish-gray tint. It will be very subtlebut effective when you compare the before and after.

STEP SEVEN: Open thepeeling paint image, select theMove tool, and click-and-dragthe entire image into your docu-ment (Layer 6). Press Command-T(PC: Ctrl-T) to bring up the FreeTransform bounding box. Resizeand rotate the image 90, then position it over the left side of theface. Press Return (PC: Enter) to apply the transformation.

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STEP EI GHT: Press Command-Shift-U (PC: Ctrl-Shift-U) to desatu-rate the peeling paint, and changethe blend mode to Multiply. Now,press Command-L (PC: Ctrl-L) tobring up the Levels dialog. Dragthe Highlight Input Levels slidertoward the left until it reads 202,and click OK.

STEP NINE: Click on the Add Layer Mask icon (circle in asquare) at the bottom of the Layers panel. Choose the Brush tooland use a small, soft-edged brush to mask out the hard edge onthe left side of the peeling paint, and any cracks over the left eye.

STEP TEN: To intensify the appearance of the cracks,duplicate Layer 6 (Layer 6 copy) by dragging it onto the Createa New Layer icon at the bottom of the Layers panel, thenlower the Opacity to 75%. Finally, add some text to completethe effect.

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STEP ONE: Choose and open an image of someone with atleast slightly visible abs to begin with (it will make it much easierto isolate the muscles you want to enhance). If youre familiarwith human muscle anatomy, you can choose someone withless-dened abs, but this may not be the best tutorial for a majornip-and-tuck digital makeover.

[NAPP members may download the image used in this tutorial atwww.photoshopuser.com/members/jun11-downloads.html. Allles are for personal use only. ]

STEP TWO: Choose the Lasso tool (L) and make a selectionof the ab group at the top left of the image. Remember, usewhats already there for the most realistic effect. Now, whileholding down the Shift key (to add to your selection), make aselection of the middle ab section on the left (see example). Con-tinue adding to your selections until youve selected all of theab muscles.

STEP THREE: Youll want to soften the edges of the selectionslightly, so go to Select>Modify>Feather. Enter 3 pixels and clickOK. Now Press Command-J (PC: Ctrl-J) to put the selection on itsown layer (Layer 1).

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FELIX NELSON

Instant AbsDOWN & DIRTY TRICKS

Weve all seen those infomercials showing how to get six-pack abs in only ve minutes a day. You have the

Ab Away, Ab Doer, Ab Circle Pro, Torso Track, Torso Tiger, and the list goes on. But now, were introducingthe Photoshop Abs-O-Matic. We can absolutely, positively guarantee great abs in one single session.

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STEP FOUR: Clickthe Add a Layer Styleicon (x ) at the bottomof the Layers panel, andchoose Bevel and Emboss.Lower the Depth to 20%,raise the Size to 20 px,and set Soften to 5. Dont click OK yet.

STEP FIVE: UncheckUse Global Light, enter159 for Angle and 42for Altitude. Dont clickOK yet.

Note: The objective hereis to try and match thelight direction of the orig-inal image. Experiment with different settings until you nd theone that most closely matches your image.

STEP SIX : The abs wevecreated so far look veryunnatural for a numberof reasons. First, the colorof both the highlights andshadows arent realistic. So

with the Layer Style dialogstill open, click on the whiteHighlight Mode color swatch. When the Color Picker appears,move your cursor over a highlight area of the image (such as herhip in this example) and click to sample a light tan color from theimage. If youre using the download image, you can enter R:224,G:196, B:172. Click OK to close the Color Picker.

STEP SEVEN: Now

click on the black ShadowMode color swatch. Choosea dark tan color (R:144,G:96, B:59 ), or samplea color from the left sideof her upper oblique (seeexample). Click OK to closethe Color Picker. Raise the Shadow Mode Opacity to 100%, andclick OK to apply the style.

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Before

Depth: 30%, Size: 30 pixels

Depth: 400%, Size: 40 pixels

After

NOTE: You can intensify the effect by increasing the Depth andSize settings in the Layer Style dialog (double-click the words Beveland Emboss in the Layers panel to reopen the dialog), but go easywith the settings as even changing the Depth as little as 10% or theSize by 10 pixels can make the abs look fake. If you go overboard(see example), theyll look way out of whack.

STEP EIGHT: The absstill dont look quite rightbecause they have some hardedges that dont blend withthe original image. Choosethe Eraser tool (E) and set theOpacity to 20% up in the Op-tions Bar. Using a soft-edgedbrush, erase away the areasof the lower abs as well assome of the sides of the abs.Again, the idea is to blend theenhanced abs into the existing image so they appear more natural(see example). Thats pretty much it. Youve completed the effect.

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Text and photographsby Hernan Rodriguez

Use lighting, Lightroom, and Photoshop to creat

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The Social

Network Generation

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The following lenses are instrumental for all my senior work:Tamron SP AF90mm f/2.8 Di macro

Tamron SP AF1750mm f/2.8 XR Di II VC

I wonder who photographed President Obamas senior portrait? For that matter, who photographed Elvis Presley, Jennifer Lopez,or Mark Zuckerberg? At one point in time, they were all high school seniors. You never know what the future holds for the teenag-ers in front of your lens, and youve been given the amazing opportunity to capture them at this pivotal time in their lives.

Speaking of Mr. Facebook, I usually see my images of any given senior appear on Facebook within hours of the shoot. Yes,we have a brand-new generation of seniors and its fantastic! Coming up with new ways to capture the core and spirit of todayssocial network generation keeps me on my toes, and applications such as Lightroom a re instrumental in keeping our studiocurrent with the quick gallery automation this software has to offer, as well as the ability to embed our logo into a watermark toprotect our images.

Photographing people is my passion. As a commercial photographer, Ive been commissioned to photograph wine bottles,energy drinks, gourmet salads, swimsuits, beautiful interiors, etc., and feel very blessed to have done so. However, capturing theessence of a person and then experiencing the joy that my image-making brings is like hitting the daily double.

Essence is a word thats quite often used loosely, and its probably the most important element in any portrait I take. Psychol-ogy goes hand-in-hand with creating this essence. Before you can have a successful gallery, you need to identify with the seniorand capture a glimpse of his personality. You have to get into the seniors mind and see where his comfort level is. You must gain histrust, study his behavior, and see where that natural expressionlies. Some seniors completely open up once you make themlaugh and they dont need any posing, only renements. I tryto let their natural body language take over and I just makesmall adjustments to their hands, feet, or tilt of their head. Thisresults in a less-contrived look to the images.

Study and learn these elementary classic poses in por-traiture and have them at your disposal. Once you establishthat trust, their condence levels go up. I can literally see itwhen it happens when reviewing the images in Lightroom.Why do you think a seniors perception of a great image ofhimself is the one a friend might have taken on a cell phonecamera, regardless of quality or exposure? Its becauseof who was behind the cameraa close friend makinghim feel comfortable. Once you can shoot within thatframework and create the expressions, everything else is

just a formality.

The Lenses

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Senior portraiture isnt something that I knew much about when I started my photography career. I was working as an art direc-tor and graphic designer for an apparel company in Los Angeles designing all their national ads and catalogs. My studies incollege were in art and advertising. My father, Hernan Rodriguez, Sr., was a photographer. I began taking classes in photogra-phy at Tri-Community in West Covina, which really helped me rene skills I had learned from years past. When my condencerose, I started shooting my own ads for the company.

Next, I took a job with a large portrait studio in L.A. During a staff meeting on the rst day, the president of the company,Mike Trerotola, was talking about taking portraits of seniors. Mike said, I hold more respect for a photographer that can geta great image of a senior than any other type of photographer.

On our rst break, I mentioned to another photographer, I see his point. I guess taking great shots of old folks is challenging.I mean, the wrinkles and hard lines, how do you minimize them? That photographer, Nathan York (now close friend andcolleague), gave me a really strange look. It never occurred to me Mike was talking about high school seniorsuntil we pulledup to a high school. What a surprise. Ive loved senior portraiture from that moment on. My senior work has greatly impactedmy commercial work, as well. I thought working with actors was challenging, but these guys are trained. They know aboutexpressions and emotions, or they should know. For seniors, its their rst professional photo shoot ever, and sometimes theirlast. That has taught me some things you cant learn in school. My number-one rule for any portrait session: win them over.

Path To Portraiture

The StudioMy studio is based in the San Fernando Val-ley close to Hollywood, and that inuencenaturally carries over into our senior portrai-ture division. Our motto is to treat everyonethat walks through the do or like a celebrity.Of course, were never surprised to nd outthat someone is the offspring of a celebrity.For instance, the beautiful ballerina pictured inpink is Michelle, the daughter of Mark Wallen-gren of KOST 103.5 FM, whos one of the fewDJs to receive a star on the Hollywood Walkof Fame. She and her best friend, Paige, havestudied dance together since they were three,so we came up with a Black Swan theme forthem to showcase their passion for dance.Jonette Swider from JS Dance Center inSherman Oaks, California, came in to helppose the girls. Were a collaborative teamthat allows everyone to put in that little extrain the image-making process.

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My number-one rule for any portrait session: w

There are so many fundamentals to implement in the process of creating the best collection of images for any particular senior

before even thinking about Lightroom or Photoshop. It all starts with identifying the subject and the anatomy of his or her face.This pretty much dictates every aspect of the photo session.

From here, determine exactly where to place lights. Make a facial analysis and try to minimize any aws. For deep-set eyes, forexample, place the lights a little lower to cast less shadows in the sockets. For a crooked nose, place lights on the side of the humpto place the shadow on the straighter side of the nose, thus making the portrait more pleasing to the subject. Employ simple applica-tions, such as having a subject with protruding ears turn three quarters to the point that the back ear disappears, to minimizethe overall appearance of the ears. For round faces, shoot from a higher-than-normal angle and have you subject stretch his neck a bitto elongate the appearance of the face. When you have a subject with one eye thats much smaller than the other, position himso the smaller eye is closer to the camera because in the laws of perspective, the back eye recedes and visually will seemsmaller, thus giving both eyes a better balance overall in the nal image.

Most people have two characters (the left and right) that make up facial lines, which are totally different. You must learn to identifythem and choose the best angle, then you can start building on your posing and lighting. Seniors would rather see one image of their

best angle rather than 100 of their not-so-good angle.One exercise you can practice is to take a photograph of a subject looking

straight into the camera. Print three identical images of the same le, then ipthe image (Image>Image Rotation>Flip Canvas Horizontal) and print itagain. Cut the ipped image right down the center. Place the left half onthe left side of one of the normal prints and the right half on the right sideof one of the other normal prints. Youll end up with three completely dis-tinct images and personalities. There will be one that will stand out as themost attering of the three. This is the side you want to photograph. Thisside will be the more elongated side, which also happens to be the thin-ner side, usually displaying a more prominent cheekbone. After muchpractice, youll be able to determine this by glancing at your subjects.

You can visually mark a point from the center of your subjects chinto the left lower ear, as well as the same for the right side. One ofthese sides will be the longest side which is also the more favorableside. [ For another technique to identify facial symmetry using Photo-

shop, see Photoshop User, April/May 2011, p. 84.Ed .]

The Importance Of Anatom

I learned most of these applications in art school, which I highly rec-

ommend to any serious aspiring portraitist. The more you knowabout the human anatomy, the more working knowledge youcan apply to create better images. The laws of foreshorteningare highly applicable, as well. Foreshortening is a technique whereperspective is applied to the subject on a picture plane to highlighta difference in scale. Too many seasoned photographers shootfrom the oddest angles that dont atter their subjects. Theymight shoot from an extreme top angle where it seems like thesubjects feet are growing out from her knees. It foreshortensthe whole angle of the plane, dwarng the subject. In this example, the subject had musculararms that we wanted to show, but at the same time we wanted the waistline to appear smaller. You can applythis forshorting method by choosing a higher camera angle along with a pose that tucks the lower body behind, creating the

illusion of a smaller waistline.

Foreshortening

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The production and postprocessing of all the images is just as important. Inthe business of senior photography, le management is at the top of the list for

running an effi cient studio. This is where Lightroom excels. Not having a properworkow can be the demise of any photography studio.

We dont do huge numbers, as were more of the boutique senior portraitstudio. We never want to lose this to chasing the volume; nonetheless, we still

have many les to deal with. We shoot approximately 250 senior portrait sessionsbetween July and the rst week of October, at an average of around 120 images

per senior. Thats around 30,000 les we must deal with. Multiply that by a ve-yearperiod, and it gives us 150,000 les for which were accountable.

Before Lightroom, we dropped all of the senior sessions on a drive, viewedthem in a browser such as Canon Digital Photo Professional to select the

best images, saved our selections into another folder, and then opened them inPhotoshop for the postprocessing. Now were able to do the one-stop shoppingin Lightroom, which also allows us to bring the images into Photoshop for further

enhancements. Sweet! Thats one of the highlights I like bestI can make my adjust-ments and then open the le in Photoshop.

Another great feature we use for organizing les is using collection sets. We some-times get, say, 40 seniors from one particular school in one particular year. We can callthis collection St. James HS, and in that collection we can put the individual seniorsby name for that particular year. Its really helpful when trying to locate seniors.

During the ordering process, we usually review images with the mothers and assignve-star ratings (simply press 5) to the best images, which becomes the final collection that we bring into Photo shopfor retouching. As far as viewing goes, there are two approaches we implement. We have a savvy group of kids who arevery Web-oriented, and then we have the traditionalistslike some parents and mainly the grandparentswho need somethingtangible, such as proof sheets. We can accommodate both in Lightroom.

We normally set up a four- to ve-page spread of thumbnails which are easily assembled in Lightroom, and run a copyrightacross the images for security. In the Print module, set up 3 Rows and 4 Columns to run 12 images per sheet in the Page Gridsection of the Layout panel. This is a good size for viewing. The other option is to use a Web gallery. This is great because it savesmoney on those crazy ink prices. If you add your Mail Link in the Site Info panel, viewers can place orders immediately after viewingthe galleries.

Lightroom is nondestructive, which means your originals are left intact. In the Develop module, you can adjust the highlights, mid-tones, shadows, and color balance individually. Narrow down the best dynamic range for the skintone values and get the optimalhistogram for print. You can also convert your images into black and white, which we often do, and really ne-tune everythingfrom shadows to highlights. All these options are excellent for senior photography. Sometimes Ill shoot a whole collection ofimages outdoors and warm up the color temperature on all these images. Simply make the necessary adjustments to one of theimages, select the rest in the Filmstrip, and click the Sync button.

Another excellent feature is the ability to make local adjustments. Most postprocessing engines deal with makingglobal adjustments to an image, so when you want to enhance a particular color, it will affect the entire image with that coloradjustment. In Lightroom, you can choose the Adjustment Brush (K) and designate what you want to work on. For example, if aparticular part in an image is hot, simply make Exposure or Brightness adjustments to that isolated area. Lightroom allows you topresent the best image possible as far as calculations go, and Photoshop knocks it out of the park.

Local Adjustments

. Lightroom allows you to present the best image as calculations go, and Photoshop knocks it out

Process Efficiently

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Hernan Rodriguez is an international award-winning professional photographer specializing in commercial photography and portraiture. He has earned 25

awards in photography, including the much coveted Black and White Spider Award for photographic excellence in fashion photography. His outgoingpersonality and fresh approach to imagery has allowed him to work with such clients as GUESS, Playboy , Corona, EMI, and Sony Music Entertainment. B i

o

Another example is the dancer in blue. We were after a moody moonlighteffect. For this shot, we gelled all the lights with a Roscolux #4315 CalColor 15 Cyan. The

background used was a very pale blue. In Photoshop, I added a Curves adjustment layerto correct for skintones, which allowed me to pull back the opacity and maintain a bit more

of a blue bias from the lters. Of course, the image had a very high cyan cast, which is onthe Red channel in RGB. By bringing up the red, it brought down the cyan. By bringing

down the blue in the RGB channels, you can also see how it raises the yellow. Prettycool stuff. From my experience, you need that color there on capture to get that extra

dimension.

Final TouchesPhotoshop also adds an extra dimension to our senior work. In the example of the girl with

butteries, the nishing touches to an amazing portrait were simply pasting an extra butteryin the scene and adding a blurred forest to the existing yellow background. The most realistic

composites are created by keeping the natural settings from the capture and building on top, asopposed to completely extracting. It makes the image more organic. Although the scenerio might

be unrealistic it still seems real. The viewer shouldnt feel the hand of the artist in the image.

In the end, what do we learn from this savvy, progressive, social network generation of seniors? For starters, traditional justisnt enough. It pushes us to discover more and expand our boundaries. It has helped me to evolve my photography in fashion,music, and posing, and taught me new approaches to imagery. But what matters most is Ive learned patience and understand-ing, making me a better person.

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STEP ONE: Convert