--------------------------
Hidden Power Monthly
May 31, Vol.11
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The Newsletter for Elements Users

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IN THIS ISSUE
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THIS MONTH:

A New Hidden Power: The Dynamic Image Tool

LONG ANSWERS (5)

SHORT ANSWERS (11)


-------------------------------
THE MONTH IN HIDDEN POWER
-------------------------------

A new tool is released this month: The Hidden Power Dynamic Image tool. This
tool can help you pump some life into images that seem like they should just
have a little more pop. It does so without blocking up the shadows or blowing
out the highlights. See more in the Long Answers section below.

Mend tool users! You can get a free copy of the Hidden Power Dynamic Image tool
by submitting your user experience with the Mend tool. Just send me a short note
(less than 1000 words) about what the Mend tool has done for you. If your
experience is used in the next newsletter, I'll give you the Dynamic image tool
free! Responses do not have to be positive, gushing or otherwise phoney...Send
your experiences to: thebookdoc@...

New tool with the next issue: Hidden Power Type. I know I mentioned it last
issue, but orders for Mend have kept me busy, and I want to be sure I handle
orders well enough before posting additional products. In any case, it gives you
something to look forward to!

Please feel free to send your other tool requests. While I am moving in to
another busy Summer, I look forward to getting users the tools they need. It has
been a while between issues, and this is partially because questions and
requests are slowing down. I look forward to your input. Please send questions
as they arise! Thebookdoc@...


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LONG ANSWERS
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1. The Dynamic Image Tool
2. My Experiences Without Color Profiles
3. More Actions for Elements Users?
4. What Working Color Space is Recommended?
5. Tool Installation


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1. The Dynamic Image Tool
-

<<I'm an experienced film photographer just now returning to photography after
20 years away from it, learning digital for the first time. I'm very grateful
for your "Hidden Power" book; it really is a great course in the technique. I'm
serious when I say it is a worthy successor for Ansel Adams' Basic Photo Series
was for the "Zone System". Every time I think of a tool or something to add, I
study some more and there it is. I'm looking forward to the action you were
referring to in
http://forums.dpreview.com/forums/read.asp?forum=1004&message=7874186. Where
will the article come out?>>

The article will be out in Digital Photography Techniques
(http://www.dcmag.co.uk/) in issue 12, and the tool will be available as of the
release of this newsletter! [BTW -- in a promotion, new subscribers get a free
copy of my new book on Photoshop CS!] I call it The Hidden Power Dynamic Image
tool. It is a semi-automatic correction tool that will help you improve the
dynamics (tone, contrast and color) of just about any image that seems to be
lacking a little zip. All you do is let the tool lead you through a series of
simple steps; it won't blow out the highlights or plug up the shadows, and your
images will improve.

While I am not much for automated corrections, semi-automated processes can
dramatically enhance images if approached the right way. My testers and I have
gone at this on enough images that I am satisfied the theory behind it
translates into results. Get the tool here: http://hiddenelements.com/dynamic/
There is a simple example of the type of results you can expect, and a link to a
purchase page. I'll have something more substantial up soon.

What the tool does is actually pretty simple: it uses a highlight and shadow
mask to target highlights, shadows and midtones. By making adjustments with
Levels according to on-screen instructions, you adjust image tone to make it
more dynamic. The masked Levels adjustment retains more detail than just blowing
it away as you would with something like the Brightness/Contrast tool. With the
masking, the reaction in the image tends to be more like what happens when using
Photoshop curves—but you don't have to be a Curves whiz to get results.


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2. My Experiences Without Color Profiles
-

<<I managed well enough for twenty five years when I used to print color film by
conventional means, so I cannot see why going to the n-th degree with profiles
should be necessary with digital printing. If you need reproducibility with
different equipment, then maybe profiles are mandatory. If you have one fixed
setup, I strongly suspect they are overkill as I am consistently getting results
that I believe would be hard to better even with their use. My views results
from action I initially had to take to get around the fact that I cannot get
Adobe Gamma to work on my PC (as it falls over when I try to save a new profile
due to an apparent incompatibility with shell32.dll in Windows XP). I used the
calibration image at http://www.peak-imaging.com/htmls/download.htm where the
grayscales and color patches are crisp and easy to make judgements by eye
without measuring instruments.

First, I put it to use to adjust my monitor settings so the grayscales are
neutral. I set the color temperature, brightness and the contrast. I did not
need to adjust the monitor gamma or color settings at all but with an ATI
graphics card one even has curves available for the latter! The next step is to
get a print on the papers I use from the calibration image that has correct
grayscales and ideally matches the colors on the monitor. I easily found by
trial and error the print driver settings to match with my equipment. Virtually
everything I have printed since with those settings is spot on and closely
matches the appearance on the monitor.>>

The procedure described here by this experienced reader is pretty much what I
suggest in The Hidden Power of Photoshop Elements 2. The idea is that if you
test your actual output with your printing device and make intelligent choices
about color settings (mostly via calibration), your results will be optimized
WITHOUT using an embedded profile. If you optimize your view, and make the most
out of your image, no profile is going to rescue it -- and if it does, I'd be
MORE worried because the profile is making changes to your image. You want your
prints to match your screen, and no matter what people are pumping about
profiles, you may not need them.

As I believe I say elsewhere and hopefully most readers understand: using
profiles is not a silver bullet for getting good color. You have to know why you
are using them and exactly what you are profiling. Adobe RGB isn't 'better' for
everything. It isn't even better for most things. I worked with Photoshop for
many years before there was profiling at all, and there was still a way to get
reliable results. In fact, I'd say that form was MORE reliable because there was
no guessing (as there wouldn't be with proper profiling use).

The real answer here has to do with what the original space is, and what the
output is. If you are looking at a monitor and expecting to match those results
and you are creating web pages, embedding a profile is pretty useless. If you
are printing to CMYK, taging the file accurately MIGHT be helpful IF you are
sending an RGB file. There is not a fine difference between understanding your
images and output and hoping a profile will do it for you. There is a fine
difference between that knowledge and deciding how to control the result.

Don't guess, know. Don't just chose a profile, use them.

The lure here that so many users are biting is sometimes the poor description of
Adobe RGB having a wider gamut. Wider gamut is a little bit of a scam. There are
still the same number of colors in sRGB and Adobe RGB. The idea that the colors
are mapped differently doesn't make it an advantage. It SOUNDS good (wider
gamut), because it makes you feel like there is more to get. Functionally, you
need something more capable than your monitor to show the difference, and
something better than CMYK to print what you see. Good luck. As bland as sRGB
is, it is a good, visual compromise to working in an environment where what you
see is what you get.

My guess is, 98% of people using profiles don't have the slightest clue as to
how to use them correctly. The other 2% use them because they are either a)
supposed to, or b) they got good results one time that they didn't duplicate
with sRGB. I wouldn't bet the farm on a guess -- or a single comparison. There
are choices for a reason, and you either use them, or you fake like you know
what you are doing. Simplifying and working without profiles is a good bet for
most users. That isn't a popular opinion, but it is a well tested one.

The method of checking a printout against the monitor is the preferred method of
getting results from a print. In fact, I find fancy equipment a little
ridiculous, and wish only that there were a software maker bright enough to make
software like I had some 5 years back that allowed me to create custom previews
that I could use to correct for results on specific paper. Barring that, a
simple calibration has to suffice. If you insist on using other color spaces and
embedding profiles, you'll have to dive in all the way for it to work. Its a
complexity most people don't need to endulge.


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3. More Actions for Elements Users?
-

<<I had an idea...Maybe you should quiz your present readers, about their
current use of actions so you can find out what they need? There is a need for
more Elements help via actions, or I am a nut! If you could make the interface
easier to enhance, that might help as well.>>

One of the regrets that I've had over the past year is that I can't seem to get
people who write actions for Photoshop interested in Elements. I thought that
would have been a no-brainer. Regretfully most users have been apathetic about
posing ideas of what they need. The fact is, my Dynamic Image tool was born of
several reader questions. I know a LOT of people are using my tools (20,000
copies of the Elements book sold this year and many people have downloaded the
free tools), and many read the newsletter, but when I've asked for response I
have gotten a trickle rather than a gush. My guess is it may be that most users
really don't know what they need -- so it falls to me to tell them. I wish I had
more time to develop extras...and come up with the ideas for them. I have more
tools waiting in the wings, but I'd rather respond to what people tell me they
need.

I very much appreciate your email, and hope you will feel free to make
suggestions in the future. As far as making the interface easier, that is really
an Adobe thing -- and I regret to say I have the inkling that it will get harder
instead (better for the programmers, worse for the amateur). They have an XML
framework set up in Elements 2, and most people will find that harder to work
with than HTML. If I can't get people to poke around in HTML, it is less likely
that they will even look at XML should future versions of the program rely on
it.


-
4. What Working Color Space is Recommended?
-

<<When I open jpg image in PS Elements 2 it asks if I want to open the image as
1) use the embedded profile, 2) convert the documents color to the working
space, or 3) discard the embedded profile. What is recommended?>>

What is recommended really depends on your workflow and what you need to
accomplish. You seem to be using Full Color Management as your choice for color
management (This uses Adobe RGB as the working space as shown by your
screenshot). I don't really recommend this for those who don't know more about
the process...reason being that managed profiles can cause more harm than good.

However, as you are offered the option, I would do what you did and not jump to
a conclusion. Options are offered for a reason and you have to consider the
variables for the outcome. If you are going to maintain a full color management
setting for color preferences, the assumption of the workflow is that you will
use profiles to 'talk' to one another. This means allowing them to convert
information, either using the embedded profile as a translator for display, or
actually converting the information in the image from one profile to the other.
As this is the case, the logical choice is either of the first two--though they
are not equivalent. You should probably do some testing within your normal
workflow to see which produces the best results. By 'best', I don't mean
prettiest. I mean which thing will help you get closest in your result to what
you see on the monitor. My guess is converting will produce the most reliable
results if you use the images in various ways, as it will keep your outgoing
workflow to the AdobeRGB profile.

Jumping back a little, unless you are getting Adobe RGB images from your camera
or scanner (and if this is your typical image, then you don't have this
concern), I would probably simplify the whole mess and just shut off color
management. This way Elements will pretty much assume sRGB, and your Mismatch
screen won't appear. If you have a calibrated monitor, and use the right
techniques, your images won't do any suffering.

A whole lot is made of color management, and the sheer bulk of information (good
and bad) makes the choice and implementation all the more confusing. In my book
I outline what seems to be a simple method, and it has to do with shutting off
the color management. 'Bigger' color spaces don't necessarily have more colors
-- they all have 16 million in RGB. Quite frankly, that they are mapped
differently shouldn't make a difference if color management works like it
should. In practice (and I've been practicing more than 12 years -- most of that
without color management as an option), it seems that what you get used to is
what works. I don't advocate using color management because it adds a layer of
complexity that you should really understand before you implement it -- and then
once you understand it, you may not need to implement.

Testing is really the only thing that works. and I prefer to simplify by
removing, rather than adding, variables.


-
5. Tool Installation
-

Let me preface this...I have been accused of being pompous, a nut, inane,
condescending, stupid, wacko and a few other things for the solutions I have
suggested to users for troubleshooting installations. I am sure it is
frustrating to have trouble with installations, but be assured I can only
approach installation problems as anomalies. I have tested everything, and it
works...where it doesn't work, there is something different or wrong. The reason
for most of my wacky solutions is that 1) I have no idea who users are and their
experience with computers when they contact me, and 2) I have seen what works.
While I do what I can to put information in the readme files for installation,
it seems that not everyone will read them...and some do then make a different
interpretation than I intended. I do know this: I have tested everything I
release on modern equipment on Mac and PC. I cannot account for every system
configuration or change made to operating systems. I can't tell which virus
protection programs will halt an installation, or what name changes users may
have made to a program file (!?!). I've heard quite a lot of problems with
installing, and perversely I get more from Mac users. I find this perverse as I
create the tools on Mac.

Here are a few tips from users and my archives:

<<I was having trouble installing from the CD, so I assume it was faulty. I
created a disk image of the CD and used that for the install and it worked.>>
Glad it is working. The solution adds more to the mystery than it removes, as if
the disc was faulty, it could not have transferred the information.

<<Here is a list of the installed files [attachment on email]. I know things
installed, but I don't know why it isn't working!>> You are trying to out-think
the installer. All you have to do, as per the instructions, is start the
installer. It should show an initial screen that describes the installer. You
click OK, and are led to a screen that allows you to BROWSE for the installation
folder. DO NOT TYPE the dissections in, click the Browse button ( looks like:
[...] ) and locate the Photoshop Elements 2 program folder. When you choose the
right directory, the program will install.

<<Hi Richard...The read and write permission must be activated in all of the
folder>> I believe these have to be turned off manually...However, turning them
on or deleting the Elements installation and re-installing should eliminate this
problem (unless there is some utility that locks files (!?!).

<<I purchased and installed the mend tool and I followed your instructions to
the T for installing it. However when I go to the effects menu and click on
"Mend" all that shows up is the original image. There is no set up icon. When
the program downloaded it was automatically unzipped by Stuffit Delux. Is that
the problem you allude to in your instructions for downloading with the Mac?>> I
have found that Stuffit doesn't unzip well--for whatever reason. I have made the
suggestion in several places to use a different utility. For those who still use
Stuffit, either by choice or because it is automated, open the Mend.psd file and
save it using Save As, without making changes to the file. Then delete the cache
and re-start Elements. This is not an insane solution...what happens is Elements
is smart enough to read the ZIP encoding and then resaves the file so it can be
read by the Effects interface.

<<I am at a loss. The instructions say: "Target the installation by choosing the
elements directory when Prompted" I can not find the directory to my Elements
and how do I find this directory so I can get the tools downloaded?>> In DOS,
what you might call folders are called Directories (DIR). The Elements Directory
is a folder where the program is stored. It is usually on your C drive in the
Program Files folder in the Adobe folder: C:\Program Files\Adobe\Photoshop
Elements 2. Locate that folder during the installation.

<<I installed the bonus tools and they appear when I first open the program,
then they disappear and I can't find them anywhere. I open the How To tab and
the Hidden Powers palette appears but not the bonus tools. I don't know if the
download was entirely successful or not.>> It was successful. The bonus/free
tools will appear in the Welcome menu. To get back the Welcome menu, choose
Welcome from the Windows menu. To access through the How To palette, click the
Other tab in Hidden Power and then click Actions. You can navigate back by
clicking the Hidden Power header on the free tools.


<<I'm having difficulty installing the CD to my computer. I get as far as the
browse button to send the installation to a directory. I click okay on
HPPSElements2 (D:), and Error comes up "Some files could not be extracted.".
What is wrong?>> Unless you have a second hard drive or are on a network, the D
drive will be the CD. You can't install the tools to the CD. You need to install
the tools to the Elements program file. On a PC, this is usually C:\Program
Files\Adobe\Photoshop Elements 2. Please use the browse button you get the path
rather than typing it in (the latter is less accurate). I then click on extract
and password comes up.



----------------------
SHORT ANSWERS
----------------------

-
1
-

<<I have a set of USM filters that I'd like to apply over and over and am hoping
to stick 'em on the recipes palette. I get a sense that this is a custom action
and that doing so can only be done from within Photoshop proper. Doable in
PSE?>>

Doable with Photoshop. If you want to program your own actions, you should get a
copy of the PS6 demo. It is free and does not expire. The free tools on my
website have an actions player, and adding actions to batch is really pretty
easy. Just take a look at what I did with the free batch tool. If you need more
information, please ask!


-
2
-

<<I tried the "Trim Image" tool, but did not see any change. Is there anywhere I
can get a little more description of how the tools work?>>

I believe the tool is described in the readme. I guess this is most helpful when
you do something like create a drop shadow for a separated object (over a white
background), and want to trim to the edges. The advantage is that you can trim
automatically without having to measure where the edge of the shadow ends.

Reveal shows you stuff that you may have moved off the visible canvas. Try this:

1. duplicate your background.
2. Choose the move tool and slide it left 100 or more pixels.
3. Click Reveal.

Your canvas size will change to encompass the image area you pushed out of the
frame. This will work up to 30,000 pixels in any direction (there is actually a
hidden matte on your images that extends this far). Reveal won't work after you
crop an image , which should remove all hidden elements in the matte area.


-
3
-
<<On page 44 in the area for Turing Black-and-White to color again in the
paragraph Prepare the RGB Layers the number 1 instruction is "Activate the
Background layer of the separated image." What do you mean the Background Layer
of the separated Image? Where do I find this background layer? When I click on
the Lilly I get the original colored Lilly and the is only that one image in the
palette and the red, green and blue do not come up. How can I get a red, green,
blue, composite, and background thumbnail to come up in the layers palette?>>

First, the instructions in the book are cumulative in some respect; you have to
understand the stuff at the beginning to tackle the stuff that comes later. You
seem to be having trouble with the idea of Layers and the RGB separations, which
are the first things you get to in the book. When I discuss layers, it pretty
much exclusively has to do with the Layers palette (Windows
>Layers). Backgrounds are the base layer in the layer stack and they will be
labeled "Background" on the layers palette. The separation is what you create by
going through the steps in the book, or by clicking the Split RGB tool in the
Hidden Power set.

As I just mentioned to someone else, as I mean to imply in the introduction to
the book, the understanding you will be reading about is a summary of about 12
years of digital imaging understanding. It will hopefully take a little time to
completely absorb itÅ0â9¢„Å0Ñ7take your time. It is the goal of the book not to
make something you read and dispose, but something that is valuable and
lasts--perhaps for years.


-
4
-

<<I purchased your book Hidden Powers for Photoshop Elements 2. I have installed
the software that came with it, but I am having trouble running it. When I first
installed your software, it loaded itself in the How To section. I later
installed your Hidden Powers III, and it installed itself in the Windows drop
down section, I am running Windows XP. I now have your program installed in two
places. I like it in the How to drop down section, since in the windows drop
down section when you run it, it does not minimize itself after it loads and it
blocks the screen with the image I am working on if I run it from the Windows
section. I hope that you have some idea what I have just typed.>>

The tools that you get on the internet and the tools on the CD are distinct.
They are loaded to different places exactly because they are NOT the same. As
far as using them, you answer your own question when you say you've had the book
only a week...the book is where you'll find instruction. Give it some time. As I
say in the introduction (or at least imply), the understanding you will be
reading about is a summary of about 12 years of digital imaging understanding.
It will hopefully take a little time to completely absorb it...take your time.


-
5
-

<<Is there some way to allow PSE2 to open and handle the 16 bit tiff files I get
from my Sigma SD9 pics edited in Sigma's photoPro2 software?>>

I believe the program will convert any 16-bit files to 8-bit on opening. It is
currently not possible (that I know of) to work with 16 bit files in Elements.
It was not possible until recently (the release of CS) to work in 16-bit in
Photoshop with most tools enabled. For the most part, most people don't need
16-bit as it can't be output...it is good for archiving, some editing functions,
and capture. Unless you are making some pretty radical corrections to your
images, you may never notice the difference. If you are concerned, make the
16-bit edits in the camera's software, archive, and then move to Elements.

[I would try this with several images and compare to images handled in Elements
alone...just to see if you can really determine a clear difference.]


-
6
-

<<I went to Hidden Power and opened the Curves tool that YOU provided and
clicked Help. But when I click that button, I get a message "Curves: Could not
find Help for this feature." It seems natural that when I am shown the interface
for some tool, and there is a Help button in the interface, then clicking that
button should give me some useful information about that tool. You've done a
pretty shoddy job with this if this is an example of your work.>>

The Help button you are referring to is in the interface is programmed by Adobe.
They chose not to place the Help in -- I have nothing to do with their part of
the interface, I just provide access to what they created. I realize this may be
a little confusing. However, I can't take blame for their code. I also can't
change it. You have to curse Adobe's work on this account, not mine.

To me the 'Help' file I provide is the book that accompanies the CD and tools;
that should be most of the help you need. If you don't find it there, try asking
me a question via email, send to the forum, or send to the newsletter. Just to
say, without the tools, you'd never see the Help button. My guess is you won't
find another author to a) answer your questions after you've bought a book or b)
find another book that provides access to curves. I hope that is a better
example of my work and attempts to help.


-
7
-

<<What does one do with the options presented when, in the interface for your
Curves tool? These appear when I click the Options button visible on the curves
dialog. Can you give me some indication of what that is about?>>

Those settings are for automating corrections, and as that is the case they are
pretty useless and I'd steer very clear of them. I am sure you might be curious
as to the controls, but what the book puts forth is really all you need. Like I
suggest at the beginning of the book, my hope is to simplify your endeavor while
getting professional results...not to offer up every knob and twiddle-button.
These "Options" will certainly promise something they can't deliver. You are
better off reading the correction instructions in the book and following the
practices I suggest, regardless of the options. Feeling the need to use all the
buttons is a little like reading a fire alarm box that says "Break glass, pull
lever." if you do it just because it is there and says so, you might find
yourself in a bit of trouble.


-
8
-

<<I want to make adjustments with Curves. So what am I supposed to do, where am
I supposed to look, if I wish to see what could be called 'my original image,
modified as per the current deformation of the red-channel curve'? A simple
question. I hope it has a simple answer.>>

Well, the simple answer is that you need to understand all of the other
technique that comes before page 100. You need to make a separation and apply
the curve as a layer above and grouped with the Red layer. The idea of
separating channels in layers is discussed and it seems your questions as to
where to place adjustments are covered there. The book is cumulative. Unless you
are a very advanced user, I wouldn't recommend just jumping in at page 100 and
expecting to understand all that is going on. Once you understand the concept of
separating and recreating color in an image in the way that elements can, THEN
it is time to move on to adjustments.

Elements is not the same as Photoshop, though it can accomplish most (and
probably nearly all) of the same things. Indulging ALL of the technique is
important. What you are doing may be more along the line of the analogy that I
think some editor suggested cutting from my book having to do with a fellow who
wanted to build a house by starting with the installation of the sink--because
he was pretty fond of the sink. The only problem is, there was nothing to mount
it to, no piping to supply the water, etc. It might seem a no-brainer that the
sink should supply water, but it can't be installed before the walls are built.
While you are seeking a "turn the handle so the water flows" answer to your
curves question, you are at the same time asking what it is connected to to
supply the water. Discover the whole process by starting at the beginning of the
book.


-
9
-

<<Recently when I had to restructure my HD after a bad virus attack, when I
attempted to reload the Hidden Power tools I got a Runtime Error message.
"Runtime Error 202 at 000042A3". How do I fix that?>>

This is cause by not browsing for the program folder during the installation.
When you see the Browse button [...], click it and locate the elements program
folder. On PC, that is most likely C:\Program Files\Adobe\Photoshop Elements 2.


-
10
-

<<I followed your directions, but that seems inane [SEE!] to open a file and
resave without making changes. Saving isn't an option, as far as I can tell
unless I make changes to the file. I find this process of installing the Mend
Tool to be less than user-friendly and am doubting if there is a Mend Tool in
the package you e-mailed me.>>

It may seem inane to you, but that is what you have to do if you choose to unzip
with the tool you are using. The real problem is that the directions state you
have to unzip with a particular tool. As you are not doing that, the other
solution is to open the file and re-save it (use Save As...). While that seems
to the user to make no changes, saving it REALLY DOES.

It would be ridiculous of me to 1) sell a tool that was a fake, or 2) sell one
that didn't work. I have a reputation to uphold outside of this one
(inexpensive) tool, and if I were going to be doing a scam, I'd probably go the
route of some other authors and offer a $300 DVD that is not much more than an
infomercial for my books. I'm not interested in making a killing, or I'd charge
more for the tools. It is not possible to make an installer that installs
flawlessly no matter what operating system or configuration the users has...I
have to be able to some extent to depend on the user following instructions. If
you visit the forums as the instructions suggest
(http://retouchpro.com/forums/forumdisplay.php?forumid=142), you will see that
several Mac users have had trouble installing and that there are a number of
different solutions to try. This is odd, as I use Mac to create the installers
-- so you'd think PC users would have more trouble. The trouble is the utility
you are using, and the OS...and perhaps the mailing program you use. These are
issues outside the installer itself that I cannot control. It will install, and
it does work. Please try the initial suggestion. Whether or not it makes sense
to you, it will likely take care of the problem.

<<Thanks, it fixed the problem.>>


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11
-

<<I am happily learning where Mend can fix the spots by itself, and where I have
to have a bit of smarts to go along with it.>>

Any tool that is so absolutely automated that you don't have to think at all
when using it to make an artistic decision is a frightening tool indeed. I hope
to make my tools with just enough options to provide both solutions, and
intelligent options for adjustment. From the response I have gotten thus far, it
seems I'm doing OK.



--------------------------------------------------------
Do let me know about questions and comments, and let me know what you think
about the newsletter. rl@...
--------------------------------------------------------

Brought to you by Richard Lynch in conjunction with The Hidden power of
Photoshop Elements 2

http://hiddenelements.com

Copyright © 2004 Richard Lynch
------------------------------