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Learn Photoshop cc & Lightroom the easy way! www.digitalcameraworld.com

Issue 46 January 2015 includes

free video tutorials!

RAW 7 things you didn’t know about

Get a wider colour space, rich tones and instant effects with ACR’s hidden features


Learn PhotoshoP cc & Lightroom the easy way! www.digitalcameraworld.com

Issue 46 January 2015 includes

fRee video tutoRiAls!

Learn PhotoshoP cc & Lightroom the easy way! www.digitalcameraworld.com

Issue 46 January 2015 includes

fRee video

tutoRiAls!

RAW 7 things you didn’t know about

Get a wider colour space, rich tones and instant effects with ACR’s hidden features

RAW 7 things you didn’t know about

WATCH THE VIDEO

Get a wider colour space, rich tones and instant effects with ACR’s hidden features

HTTP://TINY.CC/1N73QX

Practical Photoshop is now available on all Apple and Android devices, and it’s still only $1.67 an issue with a one year subscription of $19.99 Our main feature this issue highlights the hidden features in Camera Raw that every photographer should know about. Our tutorials reveal how to make Photoshop brushes, render 3D trees, and create a mono still life. There’s also our regular Lightroom video tutorial – this month on custom print layouts.

Find us here… http://bit.ly/practweet http://bit.ly/pracface

Also available on:

James Paterson, Editor • James.paterson@futurenet.com

www.digitalcameraworld.com

Highlights: WHAT’S INSIDE… The World of Photoshop

n Be inspired by the very best Photoshop imagery

Seven Adobe Camera Raw tips

n Camera Raw is more than a simple image converter

Make a Photoshop Render a forest brush from a photo of 3D trees n Turn snapshots into custom brush shapes

n Generate trees from scratch using Photoshop

Create a minimal still life in mono

n Use printer paper to create a blackand-white still life


Penrose waffles By Dina Belenko Using Photoshop CS6, Lightroom 5.6

I love optical Illusions, impossible objects especially. I’ve tried to recreate the Penrose Triangle out of something ordinary. That’s honestly much easier than you might think. The whole secret is to put the camera at the right angle, and then the illusion will work.

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Dirty Money By Karim Nassar Using Photoshop CC

This image is purely photo compositing with some paint over for the details such as hairs, saliva, stains, and the blending of the pig skin and human skin. I shot a friend of mine in an old factory using a three-light setup. I then purchased a couple of pig heads and shot them separately in my studio, reproducing the same light setup. http://www.karimnassar.ch

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Seceda, Val Gardena By Jerome Berbigier Using Photoshop CC

I took this long-exposure photograph of Seceda while hiking in the Italian Dolomites. The weather was challenging during the six days I was in the region, but it also offered unique opportunities to capture beautiful and often surreal moments.

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It’s rare to see a landscape as dynamic and powerful as this. The lowlying cloud tops it off! James Paterson, Editor


OREA MALIÁ By Giovanni Bortolani Using Photoshop CC

I started taking pictures for landscape painting in the garage. I was 11 years old and had a Polaroid. In high school I projected slides on the walls to paint big trompe l’oeil. When I studied at the academy of fine art, I entered the darkroom and no longer went out. Manipulating photographs and creating images became my trip. I have “made money” by working as an illustrator, designer, filmmaker, and art director, and I spent all of to be a photographer. Distracted by the clouds, I think with a pencil, and write with light. I live in Italy and I love my dreams.

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Novus Prometheus By Giovanni Bortolani Using Photoshop CC

In this picture, a little girl brings with her a thunderbolt of Zeus. She’s The New Prometheus, this time, as a woman. She will not be punished by the gods, but she brings with her the hope that this time, the fire, the technology, the artificial world can find the right balance with the natural one. The wish is to have an integrated humanity, through greater responsibility and commitment with nature.

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after

Raw 7 things you didn’t know about

before

There’s more to Adobe Camera Raw than making simple image adjustments. Here are seven little known reasons why ACR rocks!

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A raw file isn’t an image For those photographers who want the best image quality and greater control over the finished image, raw is the only choice. The problem with JPEGs is that in-camera processing means that much of the data collected by the

sensor is discarded at the time of shooting. By contrast, a raw file is the unprocessed information your camera’s sensor creates. It’s not exactly a digital image, but rather the building blocks of an image. And because raw files hold so much data, not all of those building blocks end up being

used. For example, raw files have a greater dynamic range than JPEGs, so there’s more detail in highlight and shadow areas. Even a seemingly black stairwell holds a surprising amount of detail in the shadows after a few quick tweaks to the Basic sliders in Camera Raw.


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You can change camera profiles Occupying an inconspicuous spot third from the right in the Camera Raw panels, you wouldn’t necessarily think the Camera Calibration settings would be the best place to begin editing a raw file. But even before you make any changes to the basic exposure, its worth heading over to Camera Calibration to experiment with the Camera Profiles. These relate to the picture style options found in your camera’s menus. By

default it’s set to Adobe Standard, but experiment with the other settings and you might find a better starting

point from which to go on and make other changes. If you really like a particular profile, you can also make it a preset.


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Tone map HDRs in Camera Raw If you like combining several exposures into one, but find the Photoshop Merge to HDR Pro command clunky, then you can choose to tone map your HDR images using Camera Raw instead. Simply select the set of exposures in Bridge, and go to Tools>Photoshop>Merge

to HDR Pro. Once the HDR dialog opens, set Mode: 32 Bit and check Complete Toning in Adobe Camera Raw,

then hit the button at the bottom. Use ACR’s tonal tools to reveal detail in highlights and shadows, then open the image. Once done, you’ll need to save it as a manageable file, so choose Image>Mode> 16 bit, then, when prompted, choose Merge and set Method: Exposure and Gamma. Now you can save it as a TIFF.


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Improve skies with greater control Those who have the latest CC version of Camera Raw

have a new feature that makes the Graduated Filter tool even more powerful. The tool has always been great at

improving skies by allowing you to gradually reduce exposure in the top of the frame. But the problem is, if part of the scene protrudes above the horizon, then it gets darker too. Recently, the tool had been bolstered with a new Brush option. After drawing a gradient, check the Brush option at the top of the tool settings, then hit Y to toggle a view of the mask. Paint to subtract parts of the mask. Check Auto Mask and the brush will snap on to edges, making it easier to paint over solid objects like these rocks.


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Digital negatives are the best choice The great thing about raw files is that they’re untouchable, so you can’t accidently save over the original, and any changes you make are always editable. The problem is, there’s no industry-standard raw format, with every camera maker using its own proprietary files. The DNG (or digital negative) is Adobe’s attempt to standardise raw into a format that can be edited in its software. There are a couple of advantages to converting to DNG (which can be done in ACR’s Save Image dialog, or in Lightroom). First, DNGs are a bit smaller, so they’ll take up less room on your hard

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Make Bridge and Camera Raw work together Just like Photoshop, Bridge can ‘host’ Camera Raw. So you don’t even need to have Photoshop open to launch Camera Raw (right click a raw file and choose Open Choose your in Camera Raw to launch it colour space from Bridge). You can also use Another big reason to shoot in Bridge to copy Camera Raw raw is the control it gives you edits from one file to another. over colour. Not only can you Simply open an image, make correct white balance after your changes and click Done. the shoot, you can also choose Then back in Bridge, right click a colour space in the Camera the file and chose Develop Raw workflow settings. Set Settings>Copy Settings. Then sRGB for web, Adobe RGB all you have to do is select (1998) for images for clients, another image (or several), and Pro Photo RGB for the right click and choose Develop widest range of colours. Settings>Paste settings. drive. Second, there’s no xmp sidecar file for the edited data. All the editing data is stored within the file, while remaining endlessly editable. Third, they future-proof your images, in case the camera’s own format becomes obsolete.

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Practical Photoshop 46 Sampler  

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