LEGEND - minimal magazine layout

LEGEND M I N I M A L M AG A Z I N E L AYO U T

LEGEND - MINIMAL MAGAZINE L AYOUT

YOUR BRAND

2

MIA PETERS

Editor’s Letter

W

arum volora et officabores et acerum ercium isciisi mperro corerum harchil iciisita comnihi tempelessum est, ut autestet volorehenis derum, te inctas seceaquunt dolore est volorum et aligenis qui atus aut am quiatiur? Quiant pratur aces exces quam aut occus ut estiae qui

que ad quiatenis quo et, officium quis quatesequide nos excestrumque desecessi ressunt ute voluptatur alis nam exere nonsequatque sin nitat. Uga. Ita coreperum qui ipiendae serum et evenieniet lam fuga. Ur moluptatur, quam laborro eum quiam, od eicium essed ea dolupta a dolor sent eate et auditat emposti occus modi natum nam reiusda debitate sin eum rest hil illenistia dendisintio. Ed qui beat. Ide imet harcimiliti volorro consed quia simin perum que dolore maxim lam quam rero tem rerehen debitas dolut que exped quis eniaspe dis.

3

LEGEND - MINIMAL MAGAZINE L AYOUT

IMPRESSUM publisher FINANZAMT KÖLN-MITTE STEUERNUMMER: 215/5829/2118 UST-ID-NR.: DE 255256350 AMTSGERICHT KÖLN: HRB 60840 GESCHÄFTSFÜHRER: STEFAN DONGUS, HOLGER VON KROSIGK founder & editor in chief VANESSA GOBERT executive editor & devops KATRIN KOBBERGER editor PAULINA KULZYCKI

4 proofreader YUCEL BASOGLU treasurer MIA MEDAKOVA advertisements and organisation LUKE WHITE distribution DAVID BŘEZINA secretary MARK SIMONSON layout LEA VEROU print SPARKASSE KÖLN-BONN KTO 1900973676 – BLZ 370 501 98 IBAN: DE89 3705 0198 1900 9736 76 BIC / SWIFT-CODE: COLSDE33

FEATURED 21 CHANNEL (DIGITAL IMAGE)

Color digital images are made of pixels, and pixels are made of combinations of primary colors represented by a series of code.

36 HALFTONE

Halftone is the reprographic technique that simulates continuous tone imagery through the use of dots, varying either in size or in spacing, thus generating a gradient-like effect.

5

48 SEPIA TONING

Sepia toning is a specialized treatment to give a black-and-white photographic print a warmer tone and to enhance its archival qualities. T he metallic silver in the print is converted to a sulfide compound.

62 MATHEMATICAL MORPHOLOGY

Mathematical morphology (MM) is a theory and technique for the analysis and processing of geometrical structures, based on set theory, lattice theory, topology, and random functions.

LEGEND - MINIMAL MAGAZINE L AYOUT

QUICK-AND-DIRTY METHOD

HOW TO CONVERT PICTURES TO GRAYSCALE Most people use Adobe Photoshop Creative Suite 6 to enhance an image. T his may not happen by adding distracting colors. Sometimes, grayscale is the answer instead. You can convert a color image to grayscale in a multitude of ways.

Here are a few that you may want to try.

6

PHOTO BY: BESSIEVALDEZ

PHOTO BY: RAMONA PATTERSON

Choose Image Mode Grayscale. Photoshop then asks you whether you want to discard color information. Click Discard. If your image contains multiple layers, Photoshop first asks whether you want to merge your layers. If you want to keep your layers, click the Don’t Merge button.

Although this method does the job in stripping color from your image, you may be left with an image that’s flat and lacking contrast. You can apply a Levels adjustment (choose Image Adjustments Levels) to boost the contrast, or you can try one of the other conversion methods.

Be aware that you can no longer apply color to your image after you convert it. If you choose a color in the Color panel, the color appears gray in the foreground and background color icons. If you want to apply color to your grayscale image, convert it back to RGB or CMYK mode.

If you look at the individual channels in the image, one often stands out as being a very good grayscale image by itself.

7

LEGEND - MINIMAL MAGAZINE L AYOUT

8

PHOTO BY: RITA RIOS

KNOWING HOW TO RETOUCH

SOFTEN EDGES WITH FEATHERING IN ADOBE PHOTOSHOP Knowing how to retouch an image in Adobe Photoshop CS6 means little if you don’t know how to make the retouching discreet. If you boost the color using curves to the CEO’s face, do you want it to look like a pancake has been attached to his cheek? Of course not — that isn’t discreet (or wise).

Choose Image Mode Grayscale. Photoshop then asks you whether you want to discard color information. Click Discard. If your image contains multiple layers, Photoshop first asks whether you want to merge your layers. If you want to keep your layers, click the Don’t Merge button.

Although this method does the job in stripping color from your image, you may be left with an image that’s flat and lacking contrast. You can apply a Levels adjustment (choose Image Adjustments Levels) to boost the contrast, or you can try one of the other conversion methods.

Be aware that you can no longer apply color to your image after you convert it. If you choose a color in the Color panel, the color appears gray in the foreground and background color icons. If you want to apply color to your grayscale image, convert it back to RGB or CMYK mode.

9

LEGEND - MINIMAL MAGAZINE L AYOUT

10

SWITCH COLORS WITH REPLACE COLOR

BY BARBARA OBERMEIER

T he Replace Color command in Photoshop Creative Suite 6 offers interesting creative effects by allowing you to switch one set of colors for another. It builds a mask, using colors you select, and then replaces the selected colors with others that you specify. You can adjust hue, saturation, and lightness of the masked colors.

11 Don’t worry about the size of the

last square; you have to scroll down to

shape. The shape is vector, so you can

select it. Don’t worry about the size of

scale it up or down to whatever size

the shape. The shape is vector, so you

you need without worrying about mak-

can scale it up or down to whatever

ing jagged edges. Just make sure to

size you need without worrying about

close the shape (re-

making jagged edg-

turn to the original

es. Just make sure to

point with the end

close the shape (re-

point).

When

turn to the original

create

the

you

shape,

it fills in with your foreground color. If

point with the end You can make the

point).

When

shape any size you want.

create

the

you

shape,

you wish, you can

it fills in with your

change the fill color

foreground color. If

to a transparent fill.

you wish, you can

When

Custom

change the fill color

Shape tool is select-

to a transparent fill.

ed, a Shape drop-

When

the

the

Custom

down list appears on the Options bar

Shape tool is selected, a Shape drop-

at the top of the screen. You have lots

down list appears on the Options bar

of custom shapes to choose from, in-

at the top of the screen. You have lots

cluding the one you’ve just created. If

of custom shapes to choose from, in-

you just saved a shape, yours is in the

cluding the one you’ve just created.

LEGEND - MINIMAL MAGAZINE L AYOUT

12

If you look at the individual channels in the image, one often stands out as being a very good grayscale image by itself.

PHOTO BY: EVA BARNES

Don’t worry about the size of the

point). When you create the shape, it

shape. The shape is vector, so you can

fills in with your foreground color. If

scale it up or down to whatever size

you wish, you can change the fill color

you need without worrying about

to a transparent fill. When the Custom

making jagged edges. Just make sure

Shape tool is selected, a Shape drop-

to close the shape (return to the orig-

down list appears on the Options bar

inal point with the end point). When

at the top of the screen. You have lots

you create the shape, it fills in with

of custom shapes to choose from, in-

your foreground color. If you wish, you

cluding the one you’ve just created. If

can change the fill color to a trans-

you just saved a shape, yours is in the

parent fill. When the Custom Shape

last square; you have to scroll down to

tool is selected, a Shape drop-down

select it. Don’t worry about the size

list appears on the Options bar at the

of the shape. The shape is vector, so

top of the screen. You have lots of cus-

you can scale it up or down to what-

tom shapes to choose from, including

ever size you need without worry-

the one you’ve just created. If you just

ing about making jagged edges. Just

saved a shape, yours

make sure to close

is in the last square;

the shape (return to

you have to scroll down to select it.

Don’t

worry

about

Because a shape is created on its own layer, you can

the

original

point

with the end point).

When you create the

the size of the shape.

experiment with

shape, it fills in with

The shape is vector,

different levels of transparency

your foreground col-

so you can scale it up or down to whatever size you need with-

and blending modes in the Layers panel

or. If you wish, you can change the fill color to a transpar-

out worrying about

ent fill. When the

making jagged edg-

Custom Shape tool

es. Just make sure to

is selected, a Shape

close the shape (return to the original

drop-down list appears on the Op-

point with the end point). When you

tions bar at the top of the screen. You

create the shape, it fills in with your

have lots of custom shapes to choose

foreground color. If you wish, you can

from, including the one you’ve just

change the fill color to a transparent

created. Don’t worry about the size of

fill. When the Custom Shape tool is

the shape. The shape is vector, so you

selected, a Shape drop-down list ap-

can scale it up or down to whatever

pears on the Options bar at the top of

size you need without worrying about

the screen. You have lots of custom

making jagged edges. Just make sure

shapes to choose from, including the

to close the shape (return to the orig-

one you’ve just created. Don’t worry

inal point with the end point). When

about the size of the shape. The shape

you create the shape, it fills in with

is vector, so you can scale it up or down

your foreground color. If you wish, you

to whatever size you need without

can change the fill color to a transpar-

worrying about making jagged edges.

ent fill. When the Custom Shape tool

Just make sure to close the shape (re-

is selected, a Shape drop-down list ap-

turn to the original point with the end

pears on the Options

13

LEGEND - MINIMAL MAGAZINE L AYOUT

Don’t worry about the size of the shape. The shape is vector, so you can scale it up or down to whatever size you need without worrying about making jagged edges. Just make sure to close the shape (return to the original point with the end point). When you create the shape, it fills in with your foreground color. If you wish, you can change the fill color to a transparent fill. When the Custom Shape tool is selected, a Shape drop-down list appears on the Options bar at the top of the screen. You have lots of custom

14

Experiment with blending

shapes to choose from, including the one you’ve just created.

If you just saved a shape, yours is in the last square; you have to scroll down to select it. Don’t worry about the size of the shape. The shape is vector, so you can scale it up or down to whatever size you need without worrying about making jagged edges. Just make sure to close the shape (return to the original point with the end point). When you create the shape, it fills in with your foreground color. If you wish, you can change the fill color to a transparent fill. When the Custom Shape tool is selected, a Shape dropdown list appears on the Options bar at the top of the screen. You have lots of custom shapes to choose from, including the one you’ve just created.

Don’t worry about the size of the shape.

The shape is vector, so you can scale it up or down to whatever size you need without worrying about making jagged edges. Just make sure to close the shape (return to the original point with the end point). When you create the shape, it fills in with your foreground color. If you wish, you can change the fill color to a transparent fill. When the Custom Shape tool is selected, a Shape drop-down list appears on the Options bar at the top of the screen. You have lots of custom shapes to choose from, including the one you’ve just created. If you just saved a shape, yours is in the last square; you have to scroll down to select it.

Don’t worry about the size of the shape. The shape is vector, so you can scale it up or down to whatever size you need without worrying about making jagged edges. Just make sure to close the shape (return to the original point with the end point). When you create the shape, it fills in with your foreground color. If you wish, you can change the fill color to a transparent fill. When the Custom Shape tool is selected, a Shape drop-down list appears on the Options bar at the top of the screen. You have lots of custom shapes to choose from, including the one you’ve just created.

PHOTO BY: ROCHELLE CLAYTON

levels of transparency and blending modes in the Layers panel.

Because a shape is created on its own layer, you can experiment with different

15

LEGEND - MINIMAL MAGAZINE L AYOUT

NEEDS ADJUSTMENTS

EDIT AN ADJUSTMENT LAYER You may make a curve adjustment in Photoshop Creative Suite 5 only to discover that some areas of the image are still too dark or too light. Because you used an adjustment layer, you can turn off the correction or change it repeatedly with no degradation to the quality of the image.

16

Notice in the Layers panel that the adjustment layer, Curves 2 by default, has a mask to the right of it. This mask was automatically created from your selection. The selected area is white; unselected areas are black.

Choose Image Mode Grayscale. Photoshop then asks you whether you want to discard color information. Click Discard. If your image contains multiple layers, Photoshop first asks whether you want to merge your layers. If you want to keep your layers, click the Don’t Merge button.

Although this method does the job in stripping color from your image, you may be left with an image that’s flat and lacking contrast. You can apply a Levels adjustment (choose Image Adjustments Levels) to boost the contrast, or you can try one of the other conversion methods.

PHOTO BY: MARK JOHNSON

PHOTO BY: JENNIFER LEWIS The improved Refine Edge feature in Adobe Photoshop Creative Suites 5 lets you preview what your changes look like as you make them. It’s available on the Options bar across the top of the Photoshop window whenever a selection tool is active.

Notice in the Layers panel that the adjustment layer, Curves 2 by default, has a mask to the right of it. This mask was automatically created from your selection. The selected area is white; unselected areas are black.

Choose Image Mode Grayscale. Photoshop then asks you whether you want to discard color information. Click Discard. If your image contains multiple layers, Photoshop first asks whether you want to merge your layers. If you want to keep your layers, click the Don’t Merge button.

17

LEGEND - MINIMAL MAGAZINE L AYOUT

You can use the Photoshop Creative

Using the Curves panel in Adobe

Suite 5 Pen tool to create precise

Photoshop Creative Suites 5, you can

selections that would be difficult to

fix an image created in less-than-

create using other selection methods.

perfect lighting. After you find the

The Pen tool produces clean edges

lightest and darkest points in an

that print well and can be edited using

image, you can set their values.

the Direct Selection tool. Using a path as a selection is extremely helpful

Notice in the Layers panel that the

when you’re trying to make a precise

adjustment layer, Curves 2 by default,

selection.

has a mask to the right of it. This mask

was

automatically

created

Notice in the Layers panel that the

from your selection. The selected

adjustment layer, Curves 2 by default,

area is white; unselected areas are

has a mask to the right of it. This mask

black. Choose Image Mode Grayscale.

was automatically created from your

Photoshop then asks you whether you

selection. The selected area is white;

want to discard color information.

unselected areas are black.

Click Discard. If your image contains multiple layers, Photoshop first asks

18

Choose

Image

Mode

Grayscale.

whether you want to merge your

Photoshop then asks you whether you

layers. If you want to keep your layers,

want to discard color information.

click the Don’t Merge button.

Click Discard. If your image contains multiple layers, Photoshop first asks

Although this method does the job

whether you want to merge your

in stripping color from your image,

layers. If you want to keep your layers,

you may be left with an image that’s

click the Don’t Merge button.

flat and lacking contrast. You can apply a Levels adjustment (choose

Although this method does the job in

Image Adjustments Levels) to boost

stripping color from your image, you

the contrast, or you can try one of the

may be left with an image that’s flat

other conversion methods.

and lacking contrast. You can apply a Levels adjustment

PHOTO BY: JESSICA BUTLER

EDGE DETECTION T he Smart Radius feature automatically adjusts the radius for hard and soft edges found in the border region. T he hair selection is improved by increasing the radius to a value of 3.0 pixels.

19

LEGEND - MINIMAL MAGAZINE L AYOUT

PHOTO BY: JESSE MARTINEZ

You can type 5 in the Cyan text box, 3 in the Magenta text box, and 3 in the Yellow text box. Leave the Black text box at 0 (zero).

T hese are generic values for a lightest point.

20

You can use the Photoshop Creative Suite 5 Pen tool to create precise selections that would be difficult to create using other selection methods.

The Pen tool produces clean edges that print well and can be edited using the Direct Selection tool. Using a path as a selection is extremely helpful when you’re trying to make a precise selection.

Notice in the Layers panel that the adjustment layer, Curves 2 by default, has a mask to the right of it. This mask was automatically created from your selection. The selected area is white; unselected areas are black.

HIGHLIGHT AND SHADOW

21

Using the Curves panel in Adobe Photoshop Creative Suites 5, you can fix an image created in less-than-perfect lighting. After you find the lightest and darkest points in an image, you can set their values.

You can use the Photoshop Creative Suite 5 Pen tool to create precise selections that would be difficult to create using other selection methods. The Pen tool produces clean edges that print well and can be edited using the Direct Selection tool. Using a path as a selection is extremely helpful when you’re trying to make a precise selection.

Notice in the Layers panel that the adjustment layer, Curves 2 by default, has a mask to the right of it. This mask was automatically created from your selection. The selected area is white; unselected areas are black. Choose Image Mode Grayscale. Photoshop then asks you whether you want to discard color information. Click Discard. If your image contains multiple layers, Photoshop first asks whether you want to merge your layers. If you want to keep your layers, click .

LEGEND - MINIMAL MAGAZINE L AYOUT

LAYER MASKS A layer mask covers areas of your Photoshop Creative Suites 5 image that you want to make transparent and exposes pixels that you want visible. Masks can be based on a selection you’ve created with the selection tools or by painting on the mask itself.

Otherwise, interesting,

you

may

but

create

some

disproportional,

effects. Using the Curves panel in Adobe Photoshop Creative Suites 5, you can fix an image created in lessthan-perfect lighting. After you find the lightest and darkest points in an image, you can set their values.

22

Notice in the Layers panel that the adjustment layer, Curves 2 by default, has a mask to the right of it. This mask was automatically created from your selection. The selected area is white; unselected areas are black.

Choose

Image

Mode

Grayscale.

Photoshop then asks you whether you want to discard color information.

Click Discard. If your image contains multiple layers, Photoshop first asks whether you want to merge your layers. If you want to keep your layers, click the Don’t Merge button.

Although this method does the job in stripping color from your image, you may be left with an image that’s flat and lacking contrast. You can apply a Levels adjustment (choose Image Adjustments Levels) to boost the contrast, or you can try one of the other conversion methods.

PHOTO BY: DONNA WATSON

23

LEGEND - MINIMAL MAGAZINE L AYOUT

24

World Press Photo

2020 Photo Contest

Featured photo by Valery Melnikov

25

LEGEND - MINIMAL MAGAZINE L AYOUT

26

GRADUALLY FADE FROM COLOR Luckily, Photoshop has a handy Threshold command that you can use to determine which tones appear as black and which are dropped altogether. You end up with a nice black-and-white line art image with all the intermediate tones removed.

You can use the Photoshop Creative Suite 5 Pen tool to create precise selections that would be difficult to create using other selection methods. The Pen tool produces clean edges that print well and can be edited using the Direct Selection tool. Using a path as a selection is extremely helpful when you’re trying to make a precise selection.

Notice in the Layers panel that the adjustment layer, Curves 2 by default, has a mask to the right of it. This mask was automatically created from your selection.

The selected area is white; unselected areas are black.

CLEAN UP A LINE ART SCAN When you scan line art, you may need to clean it up using Adobe Photoshop CS6. You don’t want to see the background color of the paper. Often, the paper appears as a dull gray, and you may see other artifacts you don’t want, such as wrinkles or spots in the paper.

You can use the Photoshop Creative Suite 5 Pen tool to create precise selections that would be difficult to create using other selection methods. The Pen tool produces clean edges that print well and can be edited using the Direct Selection tool. Using a path as a selection is extremely helpful when you’re trying to make a precise selection.

Notice in the Layers panel that the adjustment layer, Curves 2.

27

LEGEND - MINIMAL MAGAZINE L AYOUT

28

PHOTO BY: ROCHELLE CLAYTON

LAB mode is also good to use if you’re

has a mask to the right of it. This

in a color-managed environment and

mask

want to easily move from one color

from

system to another with no loss of

area is white; unselected areas are

color.

black. Choose Image Mode Grayscale.

was your

automatically selection.

The

created selected

Photoshop then asks you whether you Otherwise,

some

want to discard color information.

disproportional,

Click Discard. If your image contains

effects. Using the Curves panel in

multiple layers, Photoshop first asks

Adobe Photoshop Creative Suites 5,

whether you want to merge your

you can fix an image created in less-

layers. If you want to keep your layers,

than-perfect lighting. After you find

click the Don’t Merge button.

interesting,

Because a shape is created on its own layer, you can experiment with different levels

you

may

but

create

the lightest and darkest points in an image, you can set their values.

Although this method does the job in

of transparency and blending modes in the

Notice in the Layers panel that the

stripping color from your image, you

Layers panel.

adjustment layer, Curves 2 by default,

may be left with an image

LAB, MULTICHANNEL, BIT DEPTH Multichannel is used for many things;

Notice in the Layers panel that the

you can end up in this mode and not

adjustment layer, Curves 2 by default,

know how you got there. Deleting

has a mask to the right of it. This

a channel from an RGB, a CMYK, or a

mask

LAB

from

image

automatically

converts

was your

automatically selection.

The

created selected

the image to Multichannel mode. This

area is white; unselected areas are

mode supports multiple spot colors.

black. Choose Image Mode Grayscale.

Photoshop then asks you whether you

Otherwise,

some

want to discard color information.

disproportional,

Click Discard. If your image contains

effects. Using the Curves panel in

multiple layers, Photoshop first asks

Adobe Photoshop Creative Suites 5,

whether you want to merge your

you can fix an image created in less-

layers. If you want to keep your layers,

than-perfect lighting. After you find

click the Don’t Merge button. Although

the lightest and darkest points in an

this method does the job in stripping

image, you can set their values.

color from your image, you may

interesting,

you

may

but

PHOTO BY: NANCY COX

create

29

SHADOWS

LEGEND - MINIMAL MAGAZINE L AYOUT

30

Otherwise,

you

may

create

some

interesting,

but

LAB mode is also good to use if you’re

disproportional, effects. Using the Curves panel in Adobe

in

Photoshop Creative Suites 5, you can fix an image created

and want to easily move from one

a

color-managed

environment

in less-than-perfect lighting. After you find the lightest

color system to another with no loss

and darkest points in an image, you can set their values.

of color. Otherwise, you may create

Notice in the Layers panel that the adjustment layer,

some interesting, but disproportional,

Curves 2 by default, has a mask to the right of it. This

effects. Using the Curves panel in

mask was automatically created from your selection. The

Adobe Photoshop Creative Suites 5,

selected area is white; unselected areas are black. Choose

you can fix an image created in less-

Image Mode Grayscale. Photoshop then asks you whether

than-perfect lighting. After you find

you want to discard color information. Click Discard. If

the lightest and darkest points in

your image contains multiple layers, Photoshop first asks

an image, you can set their values.

whether you want to merge your layers. If you want to keep

Notice in the Layers panel that the

your layers, click the Don’t Merge button.

adjustment layer, Curves 2 by default, has a mask to the right of it. This mask was automatically created from your selection. The selected area is white; unselected areas are black. Choose Image

Mode

Grayscale.

Photoshop

then asks you whether you want to PHOTO BY: BRENDA GREEN

discard color.

31

This mask was automatically created from your selection.

The selected area is white; unselected areas are black.

Choose Image Mode Grayscale. Photoshop then asks you whether you want to discard color information. Click Discard. If your image contains multiple layers, Photoshop first asks whether you want to merge your layers. If you want to keep your layers, click the Don’t Merge button.

Although this method does the job in stripping color from your image, you may be left with an image

Because a shape is created on its own layer, you can experiment with different levels of transparency and blending modes in the Layers panel.

LEGEND M I N I M A L M AG A Z I N E L AYO U T