-----------------------
Hidden Power Newsletter
March, 2006 Vol.15
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The Newsletter for Elements Users
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IN THIS ISSUE
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Richard's Hidden Power Note [GO]
Where has the Hidden Power newsletter been?
BUY IT NOW [GO]
Where to find everything you need to enhance your
experience as an Elements user.
Elements 4.0 for Mac, Too [GO]
Finally a release for Mac users. What does it offer?
The Hidden Power of Photoshop Elements 4.0 [GO]
Finally a Hidden Power book for Mac and PC. Why
it took so long. Where to get the book and tools.
Photoshop Elements Workflow Class Starting in April [GO]
Richard is teaching a new class on the web to help
Elements users establish a consistent workflow.
Booster Elements Curves and Masking Plugin for Elements 4.0 [GO]
While Hidden Power for Elements 4 offers a work-around
for using Curves in Photoshop Elements 4 (through
presets and using Gradient Maps), Booster Elements
offers a reasonably-priced Curve plugin.
FEATURES [GO]
1. Mimicking Infrared Using Digital
2. Troubleshooting Add-on Installation
3. How To Stroke Text
4. Working Color Management
5. Buying a Computer for Photo Editing
QUESTIONS AND ANSWERS [GO]
Real answers to user questions organized by topic:
--Camera Recommendations
--RAW File Processing
--16-bit Editing
--Web Image Processing
--Tool Installation Trouble
--Running Actions
--Add-on Suggestions
--Questions About Procedures In the Books
--About the Newsletter
--Buying Hidden Power Tools
----------------------------------------------------
RICHARD'S HIDDEN POWER NOTE
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In all these months I've been neglecting to work on the newsletter
for a reason: I've been working at developing the book and tools
for Elements 4. Because Adobe had been so busy, there was much to
do in adding back features they had disabled. I think you'll be
pleased with the results as you read on. The intent over the next
year is to get newsletter releases back on track. They'll probably
be shorter than this one, but plans are to have new tools every
(more frequent) issue. More on new tools (for Elements 4!) in a
moment. But first, a word from our sponsor...
---------------------------------
BUY IT NOW (Support Hidden Power)
---------------------------------
Get items using the links below to increase your abilities with
Elements, power up the program, and get better results from your
images.
Get Photoshop Elements:
PC: http://aps8.com/elements4.html
Mac: http://aps8.com/elements4mac.html
Get the book The Hidden Power of Photoshop Elements:
Elements 4: http://aps8.com/hppe4.html
Elements 3: http://aps8.com/hppe3.html
Get the tools (all prices reduced):
Power tools for Elements 4:
http://www.hiddenelements.com/downloads.html
Power tools for Elements 3:
http://www.hiddenelements.com/downloads.html
Power tools for Elements 1&2:
http://www.hiddenelements.com/downloads.html
Mend tool (Healing tool for Elements 1 and 2):
http://hiddenelements.com/Mend
Dynamic Image (Make images more dynamic):
http://hiddenelements.com/dynamic
Infrared (convert color to infrared):
http://hiddenelements.com/infrared
Free Tools (Bud's frames, batch actions, and more!):
http://hiddenelements.com/downloads.html
Get Booster Elements (Curves and Masking) for Elements 4:
PC: http://aps8.com/booster.html
Mac: http://aps8.com/boostermac.html
Get Calibrated with ColorVision Spyder
Complete package:
http://aps8.com/calibrate.html
Spyder monitor calibration only:
http://aps8.com/spyder.html
-------------------------
ELEMENTS 4.0 FOR MAC, TOO
-------------------------
In early March, Adobe quietly announced the release of Adobe Photoshop
Elements 4.0 for Macintosh. This completes the development cycle for
Elements 4.
What was Adobe waiting for? It isn't quite clear. Perhaps they were
looking to see how well Apple's Aperture went over as a competitive
product. Maybe they wanted to make adjustments to Mac's Intel chip
design announcement. Maybe it was a time management issue. It is hard
to say. But here is a solid listing of new features for Elements 4
(as per Adobe):
Entertain friends with a custom slide show
Quickly retouch specific areas
Say goodbye to red eye
Share photos online
Get realistic skin tones
Easily isolate objects from backgrounds
Find every face
Order prints online with one click
View photos on your TV
Know where your photos are
Be creative in less time
My list is a little different than that.
Mac users are still left without the Organizer, and from the reaction
of many PC users, they might be happy for the omission. The list of
things removed from the program is really as impressive as what they
added. On good word, the hope was to try to make the program easier
to use. So why remove hidden functionality, you might say? Um, yes,
right...but that's what they chose to do.
As you read through the list, be aware that there are Hidden power
workarounds and tools to replace all of the following functionality:
Curves
Color Balance
Guides
Channel Mixer
Noise Reduction
RGB Channels
CMYK Channels
Luminosity and Color Separation
Snapshots
Vertical/Horizontal Alignment
Blend Mask
Highlight/Shadow mask
Custom Paths
True Duotones
Please see the full list of tools here:
http://www.hiddenelements.com/hppe4_tool_list.htm
If there are more things you think you need,
please let me know: thebookdoc@aol.com
------------------------------------------
The Hidden Power of Photoshop Elements 4.0
------------------------------------------
It has been a long time coming, but I have finally completed writing
an update of The Hidden Power book for Photoshop Elements 4. The
changes include making an update for the tools, adding significant
new material, and LOWERING the price of the book. The new book
is the first and maybe the only book on the market for Elements 4
written for both Mac and PC.
The Hidden Power book has been updated from beginning to end and
reorganized to concentrate on image editing. While removing some
of the more esoteric information, like about developing images for
the web and creating animations, more real-world examples were added
to help get better results from any digital photograph.
I've gone through and updated all the existing materials, updated the
recommended workflow, updated the recommended tool list and added new
tools to make up for those that Adobe removed access to between Elements
versions 3 and 4. This includes tools to compensate for all the
functions said to have been taken away: Curves, Color Balance, Channel
Mixer, Guides, and more. They are all there. The total number of tools
added was 40 in all, bringing the number of tools in the Hidden Power
tool set for Elements 4 to over 100 individual tools.
While the number of tools has gone up and the book has been revised,
the price of the new book and tool sets have actually been reduced!
The new book will be in stores by the beginning of April, and the tools
can be purchased NOW from the Hidden Power website
( http://www.hiddenelements.com/downloads.html ). The list price of the
book (including the CD) has been reduced from $39 to $29, and it can be
purchased from Amazon now for just $19.99 (see: http://aps8.com/hppe4.html )!
For those who want just the tools, or who don't want to wait till April
to try them out, you can purchase the complete 100 tool set (for Mac or PC)
from the Hidden Power website for just $14.99. It is available for
immediate download, so you can purchase and start using the tools today
(so long as you have Elements 4)!
Along with reduction in the cost of the book and tools, I have changed
the pricing on ALL of the Hidden Power tools that I offer. The Mend tool,
Infrared, and Dynamic Image tools have all been reduced to $8 each. In
the future, all new tools will likely follow this pricing structure. That's
good news for tool users! The free tools will still be free, and I hope to
add to those sets as well--as time permits--in the coming weeks and months,
along with new content downloads in the way of articles and how-to's.
----------------------------------
ELEMENTS WORKFLOW CLASSES STARTING
----------------------------------
A very cool web-based course on learning to work with a method for processing
images the Hidden Power way, taught by the author of Hidden Power, is starting
in April on betterphoto.com. If you are still confused by color management,
profiling, and getting great printed results, take a look at the class I
am offering called "Photoshop Elements Workflow":
http://www.betterphoto.com/photocourses/RIC01.asp
The goal of the course is to teach participants the Hidden Power image process,
from beginning to end. We'll step through the color management setup, calibration
go over the process of adjustment and color correction, enhancement, sharpening,
preparation for print, testing print processes, and finally make a perfect print
from your selected image. I'll personally be teaching the course, and will
provide personal critique and guidance every step of the way for all participants.
There is still room for this exclusive class, but seating is limited to 29
students only! Be sure to sign up before it is too late. The course starts in
April and runs for 8 weeks. If you need help, get it with a digital imaging
specialist at your side. Visit the link above and betterphoto.com to register
for the course. While you are there, you can sign up for a free online portfolio.
Betterphoto.com is a great place to share your images, enter free monthly photo
contests, and give you the reason and resources to make your images better!
-----------------------------------------------------------
BOOSTER ELEMENTS CURVES AND MASKING PLUGIN FOR ELEMENTS 4.0
-----------------------------------------------------------
One of the things that Adobe has tried to eliminate entirely from Elements 4 is
Curves. My new book does provide curve presets for a variety of situations, and
a curves work-around using Gradient Maps that is completely editable and quite
handy. However, there are no editable curves in a curves interface.
If you really want to use editable Curves in Elements 4, there is a plug in
solution. I've teamed up with Human Software to bring you Hidden Power Booster
Elements. This plugin will allow you to work with customized curves. It isn't
exactly like Hidden Power curves for Elements 1, 2, and 3, but it does offer a
solution. It is not included with the book, and must be purchased separately
using the following links:
PC: http://aps8.com/booster.html
Mac: http://aps8.com/boostermac.html
--------
FEATURES
--------
1. Mimicking Infrared Using Digital
2. Troubleshooting Add-on Installation
3. How To Stroke Text
4. Working Color Management
5. Buying a Computer for Photo Editing
-----------------------------------
1. Mimicking Infrared Using Digital
-----------------------------------
> Is there a way to mimic that infrared effect?
A key thing to keep in mind about achieving infrared effects is that
infrared is based on measuring light that is outside the visual spectrum...
that is, outside the usual RGB color model. Because most cameras capture
RGB, you will not likely be able to just flip a simple switch and get an
infrared result.
You can get infrared effects with your digital camera in one of two ways:
Actually shoot to expose for infrared light, or try to convert your
exposures in color to look like black-and-white infrared.
The process of creating an infrared image from a color exposure is
an interesting process, but isn't quite as easy as just hitting an image
with the channel mixer. While an infrared result can be half-heartedly
imitated by using the red channel with a few adjustments, there are other
properties of infrared like grain and glow and contrast that are inherent
qualities of the film. Really you have two infrared film types, Kodak
and Konica, the latter is more contrasty. Your infrared results can be
targeted to fit the profile of either...or neither.
On top of the decision of what you are trying to achieve with your
infrared effect from what base film you will try to imitate, there are
different levels of filtering that you can apply, from opaque (which
will record infrared only) to no filter at all, which will record many
qualities of what we see as normal visible light with a mix of infrared
sensitivity.
Infrared light also reacts differently to surfaces and textures...Blue
sky and water tends to turn pitch black, all colors of foliage glow
(except in shade). Graininess in the film increases depending on
exposure length.
In short, the infrared spectrum that you want to record is not usually
captured by a digital camera, and the result you get from manipulating
an RGB image can only be an imitation of infrared results -- not nailed
dead on. Different adjustments imitate different characteristics of
infrared capture, but no simple process will take an RGB image and turn
it into an infrared shot -- unless your camera can capture infrared and
you filter correctly for the exposure.
With that in mind, there are some plugins and such that have tried to
mimic the effect. Some do an OK, job, but I have tested several and always
note behaviors that are not characteristic of infrared. Often these plugins
show an over-reliance on the red channel -- which is sensible, but not
entirely accurate. There is far more to it than that. Take a look at the
samples I converted here using a process in Elements that uses separated
red and blue channel information to create the infrared effect:
http://aps8.com/infrared_tool.htm
http://aps8.com/infrared_tool2.htm
I think you will find these much closer to what you want to
accomplish in creating a digital infrared effect from an RGB image
than relying simply on the red channel. The results I show here use
the red channel, but only after shifting colors in the Cyan through
Red spectrum toward red to heighten the imitation of infrared --
using Hue/Saturation. Once that is done, deep saturated blues are
darkened and grain and glow are added. As the process uses layers,
the effect can easily be adjusted (rather than in the single-layer
plugin effects).
So, while digital manipulation of an RGB image (maybe using some
Hidden Power tools like Snapshots to make several adjustments and paint
in variations) and understanding the full range of infrared qualities,
you can come close to imitating infrared. However, the only way to really
get infrared results is to shoot them...
Some digital cameras are sensitive to infrared light, or can be made
to be. For example, my Sigma SD10 will capture infrared when I remove
the internal dust screen from inside the camera body. The dust screen
has coatings which filter infrared light; when removed, the sensor
is exposed to infrared. That doesn't mean you can just remove the dust
screen and shoot infrared, it means you can make the camera sensitive
to infrared.
To actually shoot and get infrared results, you have to filter your
digital camera. I use a 950nm infrared filter that fits any of my 58mm
lenses. This filter blocks virtually all of the visible light spectrum,
the drawback being, as it is with film cameras, that you really can't
see what you are shooting. As a result, any infrared images I shoot are
usually confined to using a tripod. The scene is framed and focused
without the filter, and then the filter is replaced to take the image.
Some lenses will require additional focal adjustments.
You can use less restrictive (less opaque) filters, but you will
capture more visible light and get more of a traditional visible
light capture and less of an infrared feel. Filters used for infrared
can range from a deep orange to red and true infrared (opaque). Luckily
some camera focusing systems are based on infrared, and you may be able
to use autofocus even if you can't really see.
Please keep in mind that adjusting the internal workings of your camera
is not for those who are frightened of electronics, and I don't
recommend doing that type of thing unless you are seriously comfortable
with electronics. Different cameras may require different adjustments
with different levels of difficulty, and I have heard of cameras that
supposedly need no adjustment at all.
--------------------------------------
2. Troubleshooting Add-on Installation
--------------------------------------
> I purchased your infrared tool, downloaded it and
> have tried numerous times to install in Elements 3.
> I have just reinstalled Elements 3 and tried again.
> No luck. The category appears in Effects, but not
> the tool. Any ideas?
[These suggestions appear in the troubleshooting sections of the
hiddenelements.com website, and are valid for the Infrared, Dynamic
Image and Mend power tools.]
After doing the install for the tool, something shows on the menu,
so you are doing the install correctly. One of two things is going
on:
1) You downloaded the files but did not decompress them completely.
2) There is a corrupt file somewhere else in the Effects folder.
If you haven't done so already, try using another unzip utility on
the original ZIP file. The new free version of Stuffit will take
care of unzipping just fine (versions 8 and earlier seemed to have
some problems). After unzipping, reinstall the folder, delete the
cache, and check the Effects palette. If that does it, stop here.
If you have been adding other effects and actions not provided by
me, or you have been trying to install actions, I would be suspicious
of number two. Even a single psd file in that folder with a background
layer can halt the loading process (something I'll have to report to
Adobe). I've seen people loading all sorts of things into the Effects
folder from the internet, including other tools and such, not all of
which are well-built. If you have lots of other stuff you've been
packing away in the Effects folder, instead of trying to weed out
the problem, try this:
1. Close Elements
2. Locate and rename the Effects folder to xEffects
3. Create a new Effects folder in the same location
4. Copy the PowerInfrared folder to the new Effects folder
5. Delete the Previews cache
6. Restart Elements (and delete the settings file)
7. Look in the Effects palette
You should see PowerInfrared and nothing else. If the tools are
there, there was something else causing the problem. Then you can
start adding the other folders back one at a time, rebuilding the
cache each time to locate the problem. Once the PowerInfrared
folder loads and not the actions, you found the problem. Delete
it, and don't load it again.
---------------------
3. How To Stroke Text
---------------------
> I haven't been able to get a response elsewhere. Maybe
> you can help. Every time I apply a layer style to stroke
> text of any kind, it rounds the edges after a few pixel
> widths. Is there any way to get those corners squared
> off in stroked text without doing it by hand?
The easy answer is: No, but it isn't really the whole answer.
When you use the Stroke style on text (I assume you are using
the Hidden Power version, though the Photoshop version works
with the same result), Elements uses the equivalent of a
rounded brush that is the radius of the stroke value to
edge the shapes in the layer. In following the contour the
corner of the stroked letters will round. As you say, you
can sample it and fix it by hand.
You can, however, apply a stroke to letters in a different
way and achieve the effect you want. To stroke type with
sharper Corners, you will need to do something other than
apply the stroke as a layer style. Without additional tools
you can stroke the item one pixel at a time (with the Stroke
(Outline) Selection command, outside the content of the
layer), and this will deliver a sharper result-or at least
the corners won't be rounded. To do this:
1. Create a new layer below the type. For simplicity, name
it New.
2. Converting the type to a selection by Command/CTRL+Click
(Mac/PC) on the type layer in the layers palette.
3. With the New layer active, Stroke the selection with the
Stroke (Outline) Selection tool set to stroke the outside
of the text with 1 pixel width, and the color you would
like the stroke to be.
4. Load the New layer as a selection, and repeat step 3.
Repeat 3 and 4 until the desired width has been achieved.
If you want to put on a 30 pixel stroke, this method will
take a little while. The results of this method may not be
perfect according to your expectations; it won't round
corners, but it will square them off.
On evenly shaped objects (perhaps something drawn with the
Shape tool), like pentagons, you can get better results than
stroking by duplicating the layer and Transforming the layer
on center holding the Shift+ALT/Shift+Option keys (PC/Mac).
This will render a perfect result with sharp corners on such
shapes, but won't work at all with something like an arrow,
or type.
The best results will likely still be achieved manually with
unusual shapes and type, and it can be pretty time consuming.
Using more than one stroking technique on different layers
and then combining the result may be your best bet.
---------------------------
4. Working Color Management
---------------------------
> I am confused terribly by color management. I've read
> many suggestions on line and some seem contradictory.
> What is the right way to handle color management?
> What profile do I use and do I embed profiles or not?
> Do I need to get Photoshop to get my color right?
Color Management confuses a lot of people, and often people get
too wrapped up with the ramifications of how to use it to get
results. This post is hopefully designed to shed light on more
than just these specific questions. I go into more depth in my
book the Hidden Power of Photoshop Elements (2, 3 & 4)
[Elements 3: http://aps8.com/hppe3.html;
Elements 4: http://aps8.com/hppe4.html ].
Like a bee in the flowers, it is sometimes better to leave color
management alone than to try and make friends with it. In other
words, not managing color by embedding profiles (or really making
the conscious choice not to make color management a potential
failing point) is another way to go about working with images
rather than worrying about profiles, which one to embed, and when.
The benefit of not fully managing images with color profiles is
that you can actually have the potential for fewer surprises.
However, NO MATTER WHICH setting you choose for color management,
you have to be sure that your entire process (workflow) makes
sense. You don't necessarily get better results from PSCS than
you do with Elements.
A few things to keep in mind:
1) No matter what profile you assign to a RGB file is has the
same number of colors (so long as the file has the same number of
bits), the numbers are just representing different things.
2) Assigning a profile doesn't make things correct unless the
process honors the profiles correctly. You can potentially get
the same results without embedding profiles as you can by embedding
them.
3) There are choices for handling color management because
different people have different workflows (they get images from
different sources and send them to different devices). There is
no workflow that is 'best for everyone', and no need to feel
belittled if you work around the limitations of using color
management to help out your files (yes, I said limitations...each
choice has its limitations).
4) You can get results without ever knowing what color management
is doing (using any of the color management choices).
5) People who swear by one method over another in all instances
are likely giving you bad advice.
6) Making the best possible corrections to your images will get
consistently better results than working with any particular color
management scheme. Put another way, profiling will not get you good
results if you don't know how to work with your images to get the
most out of them.
Handling files correctly means knowing what you are getting from
your source images (i.e., if your camera embeds a profile or not
and which it embeds), what your monitor shows you (if it is
calibrated or not) and what your output expects (RGB, CMYK, and
profile/no profile). Your camera or scanner may embed an Adobe RGB,
sRGB or other profile...you should find out which, and try not to
become too absorbed with which, as all color profiles have the
same NUMBER of colors; making the best adjustment to your image
will make the best use of those colors no matter which profile
you have handed to you.
Your monitor should be calibrated so that you can see what the
color of the image most likely is. Calibration helps the monitor
display tone and color accurately by creating a profile that can
be used to adjust images for display. If done correctly, Elements
(or Photoshop) uses this profile to adjust your images ON SCREEN.
After opening the image and making corrections, you should consider
where you are sending the file before choosing a file mode, type
and profile (if any). Embedding a profile can be bad if you embed
the wrong one -- in fact worse than not embedding one at all.
The three PE3 color management choices are explained below (there
are actually more in Elements 3, and more listed choices in
Elements 4).
No Color Management: This doesn't really mean that you don't manage
color, but what you are doing is telling elements to ignore
incoming profiles and not to embed one in a save (though you can
do so manually). If you have preset Adobe RGB (for your camera or
scanner), you don't want to use this setting. Elements will see the
file (the numbers) and ignore the Adobe RGB profile, and make your
image look washed out or dulled. That is because the Adobe RGB
space makes use of a broader color mapping than standard RGB. The
numbers map to the broader (that says 'broader' not 'better')
Adobe RGB range. when there is no profile, the numbers are really
looked at like the file is sRGB, and the effect is a compression
of the result. If your source image can deliver a generic file
(sRGB rather than an Adobe RGB profile embedded file), you may get
comparable results with color management off. In the example of the
original question, an Adobe RGB profile will be ignored and the
image will likely look drab.
Limited Color Management: This converts all images to sRGB (using
the existing profile) and allows embedding of an sRGB profile on
save, but doesn't enforce it. In other words, if you have varied
source files (a digital camera and a scanner, or several digital
cameras), you can get each to convert to sRGB, no matter what the
source is. Once converted, you know the image file doesn't have a
hidden agenda (no profile). This can be a good choice for those
who don't want to be very concerned with where the images they
have are coming from. It can produce unpredictable results only
if you are getting files that are incorrectly profiled (the
profile embedded in the file does not match the source for the
image; someone likely had to go out of their way to set that up
incorrectly). Converting to sRGB has an advantage over Adobe RGB
in that Adobe RGB can potentially reach outside of colors that
can be displayed on your monitor, so you may not see them as
they should appear. SRGB is geared toward colors that can be
viewed on most monitors.
Full Color Management: This will honor an incoming profile and
embed a profile on save (the same it came in with). It is a good
choice for those getting files where they want to manage profiles
in a sensible fashion -- if they choose to use profiles coming in
and going out with the image; yet it doesn't guarantee good results
(as some may think by the pleasant sounding name). This is good
for those who want to use a full profiling workflow (e.g., receive
an Adobe RGB file from the source and send Adobe RGB to the
printer). It is not a good choice if you are going to be sending
your files around to others who either don't know what a profile
and workflow is, or if you can't be sure they can handle (or
desire to handle) a profile.
I think the real answer to the original question ("Basically I
am assuming that the NONE profile choice in PS EL3 will mean
whatever the monitor delivers is it") is Limited Color Management.
It will take whatever file and convert it to sRGB, which can be
displayed accurately on the monitor. If you are concerned about
saving the original files you may have taken with Adobe RGB
profiles, you can still save those from the camera, archive them,
and use a different workflow later that takes advantage of the
Adobe RGB work space.
Often my suggestion for users is to experiment with embedding
and not embedding profiles if they have an interest in learning
about color management. If they don't have an interest in color
management, I often suggest using No Color Management as a
lesser of evils. Usually this will work with a consumer-grade
camera whose manufacturer does not assume that people are ga-ga
about using an Adobe RGB image. For those who really don't know
and don't want to can't be bothered or otherwise, my guess is
that Limited Color Management can be the best choice.
About moving to PSCS just to "get the color right" I don't think
you have to. Not everyone needs CS -- in fact most don't. The
tools in my book add in a lot of the powerful features you get
in Photoshop, sure, but the base product is more like Photoshop
than you might think...the options are meant to be easier to use,
not necessarily less robust. Often people get what they need
from Elements without spending a LOT more for Photoshop.
Do you need color management help? Get personal help from
Richard in his 8 week course The Photoshop Elements Workflow
--------------------------------------
5. Buying a Computer for Photo Editing
--------------------------------------
> I'm in the market to purchase a new computer for
> the purpose of photography editing. What should
> I choose?
I work on both platforms [Mac/PC] daily. The regular job has PCs,
and I have a Mac and PC laptop at home (the latter mostly for
writing). I tend to feel at this point that platform almost
really doesn't matter anymore.
Faced with a situation recently
where I had to choose between getting a PC workstation to run
a specific program, network to a PC, or use Virtual PC on Mac,
I went with the latter for specific reasons: the biggest of
which being I have a great setup on my Mac. I use dual monitors
(19"), have a DVD burner, a RAID (writes to 2 disks at the
same time so you don't have much backup to worry about), a
ColorVision calibrator ( http://aps8.com/colorvision.html ),
a Kensington trackball ( http://aps8.com/trackball.html ) and
1.75 GB of memory. All of this was possible to do with the
standard Mac box (and was already done), and would cost a lot
(relatively) to do with a new PC (e.g., I'd need a new video
card with most boxes, I'd need a means of setting up a RAID,
and I'd need additional space for another dual monitor setup...).
I also have about 20,000 dollars in Mac software in the closet
(who knows, maybe more). Recreating my desktop setup that I'd
acquired for image editing would have been costly. For some it
may not even be realistic to consider a shift to another
platform, especially if there are considerations for using
the equipment and programs you already have...and it may be
that your current system can be used in parts to achieve a
better upgrade at lower cost. Try to keep that possibility
in mind.
Every move is a dice roll, though. Changes in each platform,
programs that go with each, etc., present unknowns. Issues of
how much it costs to upkeep your system and keep current --
and how important that is to you -- may also be an issue.
Mac has traditionally been the platform for PS users in the
professional world, but Adobe has made great strides to make
the PC and Mac versions of the PS program the same (there are
notable exceptions with Elements 3 and 4). If you learn to use
Photoshop (or Elements, or PSP for that matter), you will be
relatively prepared to do your work regardless of the platform.
So specifically for image editing with Photoshop or Elements
I don't know that there are any real considerations that make
one platform 'better' than another.
I'm no help in choosing a platform, likely, because I'd
probably buy a Mac workstation and a PC laptop again, as I
use them for distinct purposes...I can tell you I'd never do
serious image work without two monitors and a RAID and a
trackball and lots of RAM--and I'd probably never work on a
laptop. THAT is the personal preference part.
All that said, my favorite machine right now is the 20" iMac,
which is great as an all-in-one graphics solution:
http://aps8.com/imac20.html
Other than my personal opinions (which I can go on and on about),
you will want to look at the requirements for Photoshop or
Elements and realize that these are likely nearly minimum
needs. You'll want to get more processing horsepower to be
sure that the machine will behave well, and so you don't have
to upgrade the computer next time you want to move up to the
new version of the program. Don't look at the minimum as 'all
you really need'. The specs for Photoshop/Elements offer you a
place to start.
With that as a starting point, break down what you think
you need in a list, and write it down. get detailed and particular
about the specifications you think you need, including what you'd
like to have for RAM (based on Adobe recommendations),hard drive
space, backup capabilities, monitors/monitor size, and extras like
color management hardware, connectivity, inputs, etc. Shop
around on the internet to have a look at what might be available
to fill your needs, and try to resist the temptation to buy
'cool'. That is, if you need a 20" monitor, and there is a 'special
deal' on a 33" that adds only about $2000 to the total, keep
yourself in check so you don't regret the purchase later. You
can get a lot of extras that may do you far more good (oh, like
a presume digital camera) for the extra money.
Having a plan will keep you from overspending on things you really
don't need or want. After 15 years of buying computers, I have
focused on what I actually use and prefer, and it helps keep me
from over-spending on upgrades, while making positive changes so
that I make incremental enhancements in my workspace.
That brings us back to: what is it that you like/dislike about
your current system? What do you think it can do better to help
you spend less time at the computer? Again, make lists, and find
solutions, and add those to the list of needs. For me, the last
upgrade I did added a RAID system for instantaneous backup. I have
3 hard drives in my machine: 1 for systems and programs, and 2
that are in a RAID array so I save all my work and backup
simultaneously. For me, that all but eliminated time-consuming
and distracting backups. Ask yourself specific questions about
your process and see if you can find available solutions. In my
case, it just so happened that Setting up a RAID was built-in
functionality for the Mac I was getting. Buying 2 identical
drives simplified the setup.
So, I don't know if you were looking for a definitive answer, but
I guess my answer is that there really isn't one. Take the time
to ask yourself important questions about need and the way you
work, and chances are you will be happy with your upgrade! Good
luck, and take your time...the newest isn't always the best choice.
---------------------
Questions and Answers
---------------------
Camera Recommendations
RAW File Processing
16-bit Editing
Web Image Processing
Tool Installation Trouble
Running Actions
Add-on Suggestions
Questions About Procedures In the Books
About the Newsletter
Buying Hidden Power Tools
----------------------
Camera Recommendations
----------------------
> In an earlier newsletter, you speak highly
> of the Digital Rebel 6.3 mp camera
> (http://aps8.com/rebel.html). Are you aware
> that Canon has recently supplanted it with the
> Digital Rebel XT at 8 mp as well as additional
> features over the original Digital Rebel? The
> new 8.0 mp Digital Rebel XT sells for the prices
> the original 6.3 mp Digital Rebel sold for,
> i.e., $900 - $1,000
I am aware, and this is the reason that the CDR camera was 'medium
priced' at the time of the recommendation rather than high priced.
I guess it depends on where you consider that price break. Any time
you have to pay twice as much (the Kodak camera suggested the issue
before that was about $275, and is under $200 now), I consider it a
step up the ladder. It also may be a consideration as to what you
think you need from a digital photo. Judging by the popularity of
35mm, and the fact that 6.3 MP is essentially the equivalent of
35mm film (according to my calculations) I don't know that the
extra few megapixels buy the consumer and real value. I have predicted
elsewhere that the consumer digital camera will probably top out at
around 10-12MP simply because there will be few people who will need
more than that to get sufficient print size. I believe that pixel
counts will continue to grow in the pro level cameras.
The 6.3 Rebel may not be available for long, but what is? Right now,
at this moment, if I were searching for a medium priced camera,
the Digital Rebel would certainly be on my list of considerations
because of the pricing. If I have other bench marks, I would make
decisions accordingly. For example, about a year ago I purchased a
Sigma SD-9 (not a 10; http://aps8.com/sigma.html) because I got it
for a great price AND I will save a ton of money using the Sigma
lenses that I had for my Sigma SA-300. I have never been one to
always need the newest, and don't think of that as a real criteria.
The 6.3 MP is significant, and the ability to change lenses in a
popular format still make this design desirable. You can see from
my choices that I am not interested in being day-and-date...I am
interested in quality, and people will get that from a digital rebel
(pretty cheaply at this point!). To me, the 'deal' factors in.
-------------------------
> I am looking to get a new digital SLR. Do you have
> any suggestions?
I have a more substantial article that I am preparing for the
next issue of this newsletter, so stay tuned. For now, I'll
leave you with a few things to keep in mind.
If you already have a digital or analog camera with an
interchangeable lens you might want to look at what would
accept the lenses you have. That COULD save you money in
the long run. For example, if you have been a long-time
Nikon user, you will probably want to look into cameras
that can accept a Nikon mount lens. This can save you
thousands of dollars, depending on how many lenses you
have and how many you expect to get.
That same idea is part of what got me using a Sigma SD9,
and now the SD10. I was interested in the SD9 camera, but
wasn't completely sold. I got a SA-300 analog for cheap.
I ended up buying a few lenses for it because I loved the
camera. It didn't take a real leap to realize that all the
stuff I bought for use with the SA-300 would work with the
SD9. Considering my existing equipment, it was a natural
Step to get the SD9, and the equipment already seemed
familiar. It saved money, and time researching lenses and
additional equipment.
There are a lot of opinions without substantiation when it
comes to which camera is best. Many people like their cameras,
but they don't always clearly say why. If I were to recommend
the Sigma SD cameras it would be because I like the results
I get, and I think those are partly based in the sensor. The
Foveon chip that the SD9 and SD10 use handles 'perception'
in a different way, using technology that allows each receptor
area in the sensor to capture red, green and blue information,
rather than the mosaic/bayer sensor approach which captures
either red, blue or green at each site (see the longer
explanation on the Foveon site: http://www.foveon.com/
article.php?a=67 ; see the camera on amazon:
http://aps8.com/sigmasd10.html ). This ability leads to what I
feel are much sharper images -- even at a 'lower' resolution.
That and the equipment I already had led to me buying a Sigma.
It is the best camera for me, but might not be for everyone
else. keep your needs in mind.
-------------------
RAW File Processing
-------------------
> The camera I am getting can save RAW files.
> Are raw pics downloaded to PSE3 just like any other
> pic off of your camera, what general things can you
> do with raw pics that you can't do with jpegs, how
> do you save them (format-wise) when you are done
> manipulating them, etc. I really look forward to
> all the fun things I'll be able to do.
In a nutshell...RAW files are raw capture from the camera before
internal processing is done in the camera. They retain ALL
capture data, which may mean increased bit-depth, and therefore,
additional image information. If you open a file in RAW, and
retain 16-bit info, you can enhance smaller ranges of data in
the image with greater flexibility: e.g., you can reclaim shadow
detail that you might otherwise lose in 8-bit, and you have
direct control over the conversion with the RAW plugin that is
provided with Elements. You will be manipulating the image
capture data, rather than what the camera manufacturer sees as
the best result for the image. This flexibility and lack of JPEG
compression are a few of the benefits. My Elements 3 and
Elements 4 books get into RAW in a bit more detail. The Elements
4 book incorporates RAW as part of procedure.
When you are done manipulating images, you will save them just
like you save other images. Usually for archive you will save
as a PSD, TIF, or PDF, as these can retain your correction layers.
As far as 'fun', I am not sure RAW files are any more a ticket
to the circus than a TIF. However, the advantages they provide
can help you produce better results. In that way you might enjoy
them!
-------------------------
> I am discouraged by Elements support of 16-bit and
> RAW images I guess sometime soon I'll bite the bullet
> and purchase Photoshop CS2 (that monster scares
> the crap out of me).
The thing about the 'monster' is that you will likely not use 60%
of it, but you'll pay for all of it. Unless you are doing web
design and serious CMYK work (volume images with custom CMYK
separation) OR if you need full 16-bit support, or if you have a
need for writing your own scripts and recording actions, you will
be doing the SAME STUFF YOU DO IN ELEMENTS. Too many people get
hung up on the idea that Photoshop is the best.
I am a Photoshop user of more than 15+ years full-time, and, well, I
can do just about all I ever need to in Elements (so long as I have
the tools from my book). I use the same techniques in Elements for
editing images that I use in Photoshop--in fact I think Elements helped
me hone my skills and determine which tools were superfluous. Nothing
you have mentioned [the note was edited] seems to require Photoshop.
Photoshop is not some magic fairy tool that will read your mind and
make everything easier...in fact, it will make for more options, and
more potential complexity.
If Photoshop scares you, don't even think about it. It is expensive
to run and maintain (for example, last year's system upgrade probably
cost me 3500$). It isn't just something you bite the bullet on because
you have no other choice, you choose to use it because it has
something specific that you NEED. It isn't decidedly better in
handling profiles, in helping with color correction, in displaying
images, or in printing...what is the mechanism that makes you think
you 'need' Photoshop? What, specifically, will it do for you that
Elements can't? If you cannot answer this question definitively, you
have no reason to purchase Photoshop.
If you are worried about losing quality from your images, What you
should practice is saving and archiving the original RAW files. Then
you can get back to them in months, weeks, years...whenever it is
that you decide to upgrade to Photoshop -- if you even find it
necessary. Elements was made for the serious amateur digital
photographer -- and I know pros who use it.
--------------------
> I have some questions about RAW processing.
> Do you think it's better to improve do as much
> as possible to improve images when doing the
> RAW conversion, or would you just convert in
> a basic way, and do most of your editing in
> Elements proper? If I don't use RAW files, do
> I have to use JPEG? What are the pros and cons
> of shooting RAW? Does your book help with RAW
> processing? I am not very experienced with
> digital images.
You should probably do what you can to improve a photo using
the RAW plugin because you can work images in 16-bit at that point.
Later more complex, and layered changes have to be done in 8-bit
if you are using anything but Elements 4. You won't lose a lot
in the conversion to 16-bit after your initial corrections--at
least not if you are using 16-bit to its greatest advantage. But,
yes, I would certainly take advantage of 16-bit, especially for
more heroic efforts in trying to save images. Either way, I do
most of my editing in Elements.
Your options for saving are controlled by your camera manufacturer.
Some will offer TIFF as an option for saving along with RAW and some
only JPEG. If your camera only offers RAW and JPEG, then you are
stuck with those choices...and I think RAW is usually the obvious
option. After getting JPEG images off the camera, the images should
likely be saved as a TIFF rather than JPEG, even if they were opened
as JPEG files (unless you are planning to use them on the web on in
email). Do not confuse a working image with a file format -- whether
you save the image as a TIFF or JPEG, you still edit it in Elements
as an RGB image.
My view is that even if you don't care about RAW now, you might later.
JPEG compression reduces quality. I like to have all the image
information, and I can get 158 images on my Sigma SD10 at high
resolution with a 1GB card...Two of those and my portable HD, and I
can easily shoot for a day, even with larger RAW image files taking
up more room.
Whether or not you will think my book 'helps' with RAW processing
depends on your perspective and the version of the book that you get.
Latter versions of the book are far more helpful than earlier ones.
People with experience in photography and computers tend to like my
books. People who want quick fixes do not. I am not a quick-fix kind
of guy. I demand quality, and do what it takes to get it. I also think
that understanding images and how to approach them is imperative. Some
people find the book complex. My approach to RAW may seem overly simple
to some. However, the only real control you have over RAW is by looking
at the preview and the histogram and making changes that seem to optimize
each. You can't just start with the RAW dialog, though. You have to start
from calibrating your monitor, or the previews are meaningless.
--------------
16-bit Editing
--------------
> I just don't understand Adobe's decision on the half
> hearted support for 16 bit editing. That alone surely
> couldn't topple the mighty CS2 (it couldn't, could it?).
> If only I'd stop spending so much time reading
> information, I would never know my golden goose is
> really just gold plated.
Well, I disagree. People will buy Photoshop for a single feature
-- sometimes if they need it or not. People were buying Photoshop
just for CURVES (which were built into Elements in version 1, 2
and 3, you just needed to know how to access them). I heard of
some buying PS just for the Highlight and Shadow tool (that is
really a limited curves), and also Healing (which is why I built
Mend). If Adobe can convince people to buy Photoshop for a single
feature, the more features that remain different, the easier it
is to convince people. You are disappointed in the lack of
support for 16-bit...has that lack made you consider moving
to Photoshop CS? If so, the ploy seems to be working.
I also disagree that 16-bit is of dramatic importance. In fact,
I believe that every feature people buy Photoshop for can be
duplicated or imitated in another way. 16-bit, in particular
is certainly not fully supported, but with the right correction
methods and good images to start with, you will likely not miss
it. You can't print in 16-bit. In essence you can't use images
in that format. Unless you are doing heroic editing, you may
never need the flexibility it provides. Not very long ago, 16-bit
wasn't eve an option, and people got along without it. While
it may be nice to have, it isn't imperative or an enormous
drawback to be without.
It is not likely that you will notice the difference between 8
and 16 bit editing unless you are making very broad changes to
your images. I prefer starting with a 16 bit image as it gives
me more latitude to adjust shadows and highlights and correct
for exposure. However, it isn't imperative -- especially if you
don't have a camera that shoots raw.
--------------------
Web Image Processing
--------------------
> When I am working with a photo using the Red Eye
> and the Crop tools I come up with the same problem.
> The original photo is in JPEG and when I finish
> using one of these tools it asks if I want to keep
> the changes. When I answer yes I get a save as
> window and it only gives the choice of saving a new
> photo with the changes in PSD, SNG, or TIFF. How
> can I get the program to save these photos in the
> original JPEG format?
If you are not getting the JPEG option, it would seem to me
that you have elements in the image that cannot be saved with
the image (e.g., layers) in the JPEG format. You are offered
the limited set of file types because these types can save the
image elements as they are. This has less to do with the tools
you are using than what you may have done to the images. Try
flattening the images and being sure that you are throwing out
any saved alpha channels or other extraneous image materials.
Saving to JPEG may not be your best archival choice, as each
time you save to JPEG, images compress and degrade. You also
will be limited to not saving layered corrections, and if you
want to make adjustments, this can mean you'll have to start
all over. Be sure that you want to save the images as JPEG.
-----------------------
> I am seeking advice on how to stop white edges
> from appearing on transparent gifs.
Because GIF images support only complete transparency (image areas
are either completely transparent, or completely opaque), Elements
sometimes helps you out by matting partially transparent pixels.
The result can be ugly, and incorrect for your application of the
image. Your only recourse is to learn to work transparency to your
advantage. This may mean building images differently, or learning
how to use matting to your advantage.
You have to try to think of images laying over backgrounds so that
you can get edges to blend virtually seamlessly. If you have a
dark blue background and Elements is assuming the background/matte
is white, you'll get a white fringe around the GIFs every time if
they have any feathering or transparency.
To work around the problem, try one of the following:
1. Change the white background in the original image to a color
that is similar to or the same as the background on the page
where the image will appear. Use the background color to base the
transparency on. There are several ways to do this...The following
technique may not be the easiest, but it will work for a variety
of images (assumes you are working in RGB): flatten the image,
double-click the Background to turn it into a layer, use the Magic
Wand with 0 Tolerance and Contiguous checked and click on the
background color, then delete the selected area. You can save the
image as a GIF and the area that you cleared should be transparent.
2. Change the matte color in the Save For Web dialog options to
the background color. To change the matte color, choose the
eyedropper, click in the color area, then click the Map selected
colors to transparent button.
I have more about transparency and using the extract tool on my
ps6.com website in the tutorials. http://ps6.com
-------------------------
Tool Installation Trouble
-------------------------
> Tried installing the power tools but you need a
> pass code which is supposed to be on page 23??
> Can not find it. I can not seem to go any further
> without this code. Please send me the pass code.
> I tried the publisher, but there is no response.
For some reason the publisher decided to put the page number
in for where the password was, and they counted every page
in from the front of the book, not just the numbered ones.
The password is actually on an unnumbered page in the
introduction 23 pages in when counted from the front. Please
either count in, or read the introduction (I suggest the
latter).
Just to say, the book is more than just the tools. Many
people have gone for the CD and seem to skip the book -- but
they are packaged together because they are interdependent.
Actually there is quite a lot to the book independent of the
tools, rather than vice versa...
The website and my email are better places to get information
than the publisher. I built the house, after all... ;-)
-------------------------
> I recently purchased Elements 3, bought your book
> and tried to install the new Elements 3 tools.
> I followed your troubleshooting guide and deleted the
> Effects Cache and rebuilt the settings file, but the
> cache is not being rebuilt. Should I reinstall
> Elements? Do I need to remove my old version of
> Elements 2 first?
Though reinstalling is not a desired troubleshooting response, it
is necessary sometimes-but only after you have exhausted all other
options. The things you need to try first are deleting the Settings
file, throwing out the Cache, and searching for additional
installations of Elements (if you have more than one installation,
you could be starting from an installation that is different than
the one you installed the tools to, and that won't work). However,
if you have done all the troubleshooting, as outlined on the web
site (http://hiddenelements.com), you have already done all those
things.
As far as your situation, I am wondering about Elements 2. I keep
multiple versions of Elements on Mac and PC for testing and sometimes
install items to the wrong version. I wonder if you are installing
the Elements 3 tools to the Elements 2 folder. To be sure you are
starting up from the right version of Elements, go to the folder
where you have the tools installed and move up a few directories to
the Elements program folder. If it is the wrong version, it should
be obvious by the numbering of the folder. If it is the right version,
open the program by double-clicking the program icon there rather
than using any shortcut you may have. If you get the program and the
cache rebuilds, you have been starting from a different version of
Elements than where you have the tools installed. Throw out the
shortcut, and locate the other installation and delete/uninstall it.
When reinstalling or uninstalling, you will want to uninstall the
version that you plan to reinstall (don't just repair), and you want
to use the utility provided by Adobe for a complete uninstall. It
will take a little longer than throwing out the program folder, but
you can eliminate the installation as a part of the troubleshooting
equation.
If you are continuing to have trouble, are there are other programs
that you are having troubles with? If so, this is likely a symptom
of the disease...
---------------------
> I've been using the hidden power of Elements II now
> for sometime and love it, however last night ran into
> trouble. I have Bud Guinns Frames and have been using
> them right along but last night, after saving several
> framed projects, I tried to save another finished
> project, I got an Adobe Photoshop Elements message
> box with a red dot with a white x saying "Could not
> complete your request because of a program error. This
> happens regardless of which wood frame or wood matt I
> choose. However I can still use any of the Buds frames
> I have chosen so far and I can save them to a file. I
> can save any project I have worked up using Color
> Correct or Dynamic Image. Everything seems to be working
> fine except I can no longer save a project that has a
> wood frame or a wood matt. Can you help me?
While this first solution may not be your problem, it is my best
bet. I am guessing your system is having a memory problem, and
you are starting to run out of room on the drive where you store
your images, and that you use the same hard drive for your
scratch drive. When the scratch drive starts to fill up, Elements
inevitably slows down, and starts throwing errors like the one
you have noted here. You can clear off drive space, move images
to another drive, archive images, change the scratch drive (in
Elements Preferences), or a combination of these things. My
guess is that will fix the problem.
If you still have the problem after clearing off space, try
deleting the settings file. Next time you restart Elements,
hold down the ALT+CTRL+Shift keys and wait for the setting
file deletion prompt. Say yes, and try applying the frames
again. This can sometimes clear up unusual problems that
result from oddities or corruption in the preferences file.
---------------------
> Since installed the mend tool I have been having
> freezing problems. I tried to uninstall Elements
> 2 and got the error that it cannot be uninstalled
> because files are corrupted. What do you suggest?
It is not likely that the Mend installation caused any trouble. If the
files were somehow extracted badly, they would just not function --
they would not cause freezing. If they were installed to the wrong
place, again, they just wouldn't work. There just isn't enough to them
programmatically to cause other trouble; nothing I provide actually
changes any of the Elements installation, program files, etc. Your
trouble sounds more like a fundamental problem with Elements, memory,
or your system.
If you are having trouble with Elements, there are several things
you'll want to try. Deleting the settings file, restarting, checking
your memory and hard drive, etc. I list troubleshooting information
on the website http://hiddenelements.com
-----------------------
> I've upgraded to Elements 3 and installed
> the free tools, but I can't find how to get
> to the frames. The Hidden Power things are
> in "Effects" but they are not as nicely
> organized as in PSE2. I really think Adobe
> messed that one up!
Because of changes that Adobe made in the Elements program
between versions 2 and 3, it was not possible to do the same
implementation of the tools and add-ons. Subsequently, all
the add-ons I have created for Elements 3 and 4 have gone
into the Effects palette.
--------------------
> I had a hard drive crash and had to reinstall everything
> on a new drive. I think I have put all the functionality
> back, but one thing has me stumped. I no longer have all
> the fonts I had before in PS Elements 2. I have a backup
> of recovered data and programs from my old hard drive,
> but I don't know where the fonts are stored. If you know,
> and could possibly tell me how to copy them back, I would
> really appreciate it.
I assume you are on a PC? Depending on your operating system these
may be in another place, but generally you will find fonts here:
C:\WINDOWS\Fonts. For the most part you will want to keep your fonts
in one place. Copy the old ones from your backup to this folder. This
may be enough to install the fonts (restart).
You can add fonts through the font File menu. Simply navigate to the
folder named above in Windows Explorer (open by double-clicking the
My Computer icon), and choose Install New Font from the File menu
(File>Install New Font...). You will be presented with a screen that
allows you to search for a folder where you have stored the fonts.
If your backup is accessible from your machine currently, you can
use this feature and Windows will install the fonts for you.
-------------------
> I have both Hidden Power for Elements 2 and 3.
> However, I recently purchased a new computer and
> find that I have lost the Disk that came with Hidden
> Power for Elements 3. How do I get a replacement or
> are there other strategies that I can employ to get
> the tools on to the new computer and the examples
> needed to follow the chapters in book 3?
You can contact the publisher for a replacement CD. Please see
the website:
http://www.sybex.com/
-------------------
> Every time I select photo from Windows XP viewer,
> Elements v.3 boots up spontaneously. I lost the
> ability to use Windows viewer.
You have Elements 3 associated with the viewer files. The
following is from Windows Help:
To associate a file with a program
1. Open My Computer
2. Double-click a drive or folder.
3. Right-click a file, and then click Open With. If Open With
is not available, click Open.
4. Follow the instructions under the option that matches the
dialog box you see:
A. Open With--Recommended Programs list
* Under Programs, click the program in which you want
the file to open, or click Browse to locate the
program you want.
-or-
* Click the look for the appropriate program on the Web
link to search the Web for a program to open your file.
B. Open With--No Recommended Programs list
* Under Programs, click the program in which you want the
file to open, or click Browse to locate the program you
want. You can also type a comment that provides
information about the file type. This information will
appear in the folder window under Details when you view
the file in a folder.
-or-
* Click the look for the appropriate program on the Web
link to search the Web for a program to open your file.
C. Cannot open this file
Windows cannot find a program to open the file. In the
Cannot open this file dialog box, do one of the following:
* Click Use the Web service to find the appropriate program.
This enables you to search the Web for the program that
will open the file.
-or-
* Click Select the program from a list to choose a
program to open the file in the Open With dialog box.
Notes
* To open My Computer,Start, and then click My
Computer.
* For some file types, you will right-click a file, point
to Open With, and then click Choose Program.
* To ensure that Windows always uses the same program to
open the file, or any other file with the same file
name extension, in the Open With dialog box, select the
Always use this program to open these files check box.
---------------
Running Actions
---------------
> I downloaded your instructions on installing actions
> in PSE. I am confused, however, at the point of
> setting up the action preview file. I am stuck at
> step C because I don't understand how to design
> the preview and I am assuming that I have to run the
> action on this document because you refer to layers.
> I don't know how to run the action on the new
> document. Can you advise?
The instructions for running actions describe what to do to get
actions to run. The instructions also include a procedure for
creating the preview...The one thing they do not do is tell you
what the preview should look like, and that is because it is
completely up to you.
The preview is just the thumbnail that will appear in the Effects
palette. It really doesn't need to look like much, and you are not
required to run the effect you are installing to make it work. The
thumbnail needs to be a layer in the 64x64 pixel image created in
the previous step. I can't tell you what it should look like as I
don't know what will be helpful to you. It can be anything at all,
so long as you recognize it -- it could even just be the name of
the action in black on a white background. In my book, I actually
suggest using the title mode for the Effects palette, as the
thumbnails may not be an accurate depiction.
If you have a still have a problem designing the thumbnail, take a
look at the sample here:
http://hiddenelements.com.thebookdoc.com/actions_whitepaper.html
--------------------
> Can PSE do macros or scripts?
Yes and no. You can't 'do scripts' but you can run actions (which
are what my tools do). Though you can do actions, you can't
write them in Elements (you need to use Photoshop). SO...Elements
CAN play an action if you have one...but you need Photoshop to
write/record the action.
What I sometimes suggest is either finding someone who has
Photoshop to write the action for you (though this can be
problematic because Photoshop people don't understand Elements),
or finding a local library/school where you can use PS for a few
minutes at a time to record the actions. Another option is to
use the PS 30 day trial. A fourth option is: how much is it
worth to you. ;-)
You will spend some time if you try to do it yourself learning
a little about actions and recording, but it isn't all too hard.
Can it be done? certainly. If you have a great idea for a new tool,
I am open to suggestions. Not only will I get you your tool for
free if I like the suggestion, but I'll cut you in on profits from
sales. Just contact me with your ideas and we'll work out a deal.
Find me here: thebookdoc@aol.com
------------------
Add-on Suggestions
------------------
> I am looking for a few additions to Elements,
> and I wonder if your Hidden Power can help.
> (1) Pen tool to create quick and accurate
> selections to isolate objects and create clipping
> paths. Hide guides.
I've had real problems trying to duplicate Pen tool function
and won't be able to without some very serious addition to
the elements interface. The best that can be accomplished at
this point with Hidden Power are several additions that help
you convert type and selections to paths. For example, you
can use the polygon lasso to create a shape, then convert the
resulting selection to paths (selection to path). Other than
that, you are left to combine vectors, as I describe in the
book. Clipping path creation, once you've made a path, is a
tool added with Hidden Power.
About hide guides, the built-in hiding function didn't work
in Elements...You could create guides, but had to delete
them. I built a tool for Elements 4 that will add guides to
layers. These are printable guides -- but you can easily shut
them off by shutting off the layer view. The Elements 4 book
should be out in about April, the tools are available now
(see the downloads page on the website:
http://hiddenelements.com/downloads.html).
----------------------
> In working with the Basic Color Correction tool that
> comes with the Dynamic Image tool I ordered from your
> web site, it is a drag to have to go to the initial
> part of the utility - is it possible just to leave
> the last part with no option to create the RGB layers?
Actually it could work that way because of the Levels palette
will allow selection of channels/components, and color balance
doesn't need to be targeted to channels. The tool was built
that way when I was going to include Curves...and then I
changed my mind. The only reason that it is currently an
advantage is that the separation allows for simplicity and
instruction. When I was building that tool for inclusion
with Dynamic Image (see http://hiddenelements.com/dynamic),
I wanted to lead the user through the process without giving
them too much to remember or look up. The separation for
color should only take a moment (if it is taking longer and
is a 'drag' as you suggest, you may want to evaluate your
memory resources). The separation prompts the series of
changes in a way that can't be accomplished by just calling
Levels on their own.
---------------------------------------
Questions About Procedures In the Books
---------------------------------------
> Reference page 155
> I followed instructions 1 thru 8 and ended up with
> two layers, Background and the mask layer created
> by instruction 7 on page 156. Continuing on to the
> next section I follow the instructions 1 thru 6 but
> I end up with four layers not three. The layers I
> end up with are Background, Orchid Background, Orchids,
> and the mask layer from the previous section. I have
> followed these instructions four times and keep ending
> up with the same four layer each time.
What you are looking to do from exercise to exercise and section
to section is understand and retain the concepts. I am not so
concerned that you have an additional layer, as you do have the
layers you need. What concerns me more is that you are concerned
about that additional layer. It suggests to me that you don't
understand, conceptually, what layers are for. There I have either
failed to make the point, or properly deliver the concept.
I assume that the layers you have show a neat stack of the three
layers described. That is all the result you need. If there is an
additional hidden layer, it does not effect the result. I do
believe the illustration only shows three layers--the important
ones. You could throw out the Selection layer at this point as
the Orchids layer stores the selection and will accomplish the
same result.
While all effort is made to make screen shots match results
exactly, it may not always be the case. However, conceptually,
the results should be the same. If the idea of layers and content
in layers is unclear, take a look at the snapshots section of the
book and see if you are clear on the behaviors of layers there.
If not, lets discuss what is unclear. If you are comfortable with
the layer concepts, delete or ignore the mask layer.
------------------------
> I am working through the section on creating image elements from
> scratch, and I ran into a few problems, so I have a few questions
> 1. How do you create a background image filled with
> a color?
> 2. Would you work with the images from the CD in the
> same palette as the created image?
> 3. How do you resize the selections to fit into the
> created background image?
To preface, at this point of the book it is assumed that you have a
pretty good handle on using Elements. There is a lot less hand-holding
at this point in the book. That's why the instruction may be a little
less exacting...it was a way to include the materials without bulking
the book up by hundreds of pages.
1. You can do this a lot of different ways. Fill, Paint Bucket, etc.
You can use an existing image or create it from scratch. Part of the
exercise is to test out your ability to experiment.
2. If you want the images from the CD in the same image as the
background, you will have to work with them together (on separate
layers).
3. You resize elements in the image using transform, most likely.
You can also resize the image parts in the individual images.
When I do not give specific instruction for doing something, it is
because there are a lot of ways to do it, and you should choose the
one that best suits your style and aim. You won't have instructions
outside the context of the book and the exercises look to be sure
that you are making some level of creative decision on your own.
---------------------
> On pages 23and 25 of the Elements 3 book, you make
> reference to the X and Y phosphor values for Red,
> Green, and Blue. Would this hold true for LCD monitors
> or just for CRT monitors -- because I have a Dell
> 1704FPT LCD monitor and just wrote to Dell asking
> for these values (as well as for the recommended
> gamma value), but maybe I was incorrect if the
> phosphor values only apply to CRT monitors.
The idea that you have no ability to calibrate LCD monitors seems to
be a rumor that is going around. However, I contacted two companies
and asked about phosphors for specific models of LCD, and they gave
me numbers. On top of that, my calibration device has an LCD
attachment. So, even if you don't believe me, the LCD manufacturers
and a calibration device maker ( http://aps8.com/spyder.html ) both
believe calibration is possible.
It is often difficult to get the numbers, even for CRTs. As it says
in the book, you may have to be a little forceful in order to get
what you need, but it can be done.
--------------------
About the Newsletter
--------------------
> I'm new at this. I see you have a newsletter.
> Will this be too advanced for me?
It might be only if you don't ask questions about what you
don't get. I am able to answer questions at all levels, and
usually tailor what I say to the level of the question as I
get it in email or on forums. But if you are not clear on
my answers, just ask. On the other hand, you aren't taking
much of a risk: this newsletter is free -- whether or not
you bought my books. You can tailor it to your own needs
just by sending in questions...there are other publications
you can subscribe to that don't provide that kind of service,
and you have to pay them.
Try it out...Skip the stuff you aren't interested in.
---------------
> In a recent issue of your newsletter, you didn't
> blind copy the recipients. I checked your forums,
> and the Adobe PSE forum, for an acknowledgement
> from you that this was an error -- and found nothing.
> Don't you owe subscribers an apology?
I didn't acknowledge it, not because it was an error, but because
acknowledging it at that time would have been calling attention to
it and begging people to abuse the list. I later got acknowledgement
from AOL that the error was a setting on their end.
In any case, I set up the mailing to go with BCC, it stalled, and
I had to send several times...this went along with 3 other emails
that were set the same way. At some point the address pointers
switched, and the email went out with about 1/4th of the recipient
addresses visible. Completely unintentional, and apologies for
anyone that got unwanted email in the wake of that. I put my address
(in one form or another) on every mailing, and didn't get anything
from that mishap, so I trust no one else did either.
Sorry for the inconvenience. It is unlikely to happen again.
--------------------------
> I just sent a message to you on the ps6.com address
> and realized that you must use the present address
> to answer "dumb" questions like mine. Should I
> resend it?
Actually I just answer questions and I don't rate them -- they
both end up in the same place -- and if I think others can
benefit, I send them over to the list on the newsletter so
everyone can hear. Hopefully it keeps some people from having
to ask old questions over again.
--------------------------------------
Buying Hidden Power Tools for Elements
--------------------------------------
> How can I get just the toolset separately. The only
> reference I see on your site is a redirect to amazon.com
> for the full product. Is there an upgrade available for
> existing customers at a reduced price?
Tool sets for Elements 3 and 4 are available for Mac and PC on
the website. Visit the download page for more information and
to purchase the tools for immediate download:
http://hiddenelements.com/downloads.html
-----------------
OPINIONS
-----------------
This Opinions section is a new section of the Hidden Power
Newsletter, where I snip out a few voiced opinions from my emails
and other places. Be heard by sending your opinion to me.
Be heard by potential book buyers, and post your reviews and
opinions of Hidden Power on Amazon.com by writing a review.
If you like the Hidden Power book and tools, and newsletter,
this will help assure that I keep them coming.
--
Richard, this newsletter is the best on the internet, bar none!
--
Your book and tools have made me confident with editing images.
I can't thank you enough.
--
I can't believe you have me doing all this stuff! Not just that
people say it is impossible, but that I thought I'd never get it.
--
Do you have time to take from your writing to learn to spell?
--------------------------------------------------------
Do let me know about questions and comments, and let me know what you
think about the newsletter. thebookdoc@aol.com
--------------------------------------------------------
Brought to you by Richard Lynch in conjunction with The Hidden power
of Photoshop Elements book series, now covering Elements 1, 2, 3 and
4 for Mac and PC.
http://hiddenelements.com
Copyright © 2006 Richard Lynch
------------------------------