Some people have said that there are links in the previous message that don't
work.
Regretfully, some email browsers are reading in invisible characters. I have
attempted to
redo the links here for the Newsletter, Tools, Books, and Photoshop Elements
Workflow
Class.

Hidden Power Newsletter:
http://hiddenelements.com/files/hp_elements_vol15.html

100 New Hidden Power tools (Elements 4, Mac and PC):
http://hiddenelements.com/downloads.html

Hidden Power Tool List
http://hiddenelements.com/hidden_power_4_tools/hppe4_tool_list.html

Hidden Power Elements 4 Book (for Mac and PC)
http://aps8.com/hppe4.html

Photoshop Elements Workflow Online Class (Richard Lynch instructor)
http://www.betterphoto.com/photocourses/RIC01.asp

I hope these work. if not, copy and paste the links into your web browser URL
field and hit
return.

Several people have told me there is no Elements 4 for mac. YES, there is--just
out this
month. My new book is the first out to cover mac and PC. See Elements 4 for Mac
here:
http://aps8.com/elements4mac.html

Richard Lynch
thebookdoc@...
http://hiddenelements.com

With the new release of The Hidden Power of Photoshop Elements 4 ( http://aps8.com/hppe4.html ), I am releasing a new issue of the newsletter for March 2006:

http://hiddenelements.com/files/hp_elements_vol15.html

My Hidden Power book for Elements 4 is the first book on the market for Elements 4 that covers Mac and PC. It is also the only book that adds 100 tools customized to empower Elements 4 users.

Please do let me know what you think of the newsletter!

New tools for Elements 4:

Booster Elements, Curves plugin for Elements 4:
http://hiddenelements.com/booster/

Hidden Power tools for Elements 4:
Tool List: http://hiddenelements.com/hidden_power_4_tools/hppe4_tool_list.html

BUY THE TOOLS: http://hiddenelements.com/hidden_power_4_tools/

Richard Lynch

Sorry the newsletter went out without a header...If you didn't see it, or your
spam catcher grabbed it, you can get your issue online:

http://hiddenelements.com/files/hp_elements_vol14.html

Some people have had trouble with the links generated by the yahoo list anyway.
Please feel free to visit the website to get the newsletter...the content is the
same and the links work!

http://hiddenelements.com/backissues.html

We're on issue 14.

Sorry for the additional mailing. Please do let me know what you think of the
newsletter!

Don't miss the new tools:

Infrared: http://hiddenelements.com/infrared
Bud's Frames A for Elements 3: http://hiddenelements.com/freeframes.html
And the actions whitepaper for Elements 3 users,
How-to Run Photoshop Actions in Adobe Photoshop Elements 3:
http://hiddenelements.com/actions_whitepaper

Richard Lynch

---------------------------------------
Hidden Power Newsletter
May, 2005, Vol.14
---------------------------------------

The Original Newsletter for Photoshop Elements Users

-----------------------
IN THIS ISSUE
-----------------------

Toys for Elements 3 users released this month:
     • Some Old, Familiar, FREE Tools for Photoshop Elements 3
     • The (Very Cool) Hidden Power Infrared Tool
     • How-to install actions in Elements 3


BUY IT NOW:
Find all the things you need to work with Elements to the max.


FAQ


LONG ANSWERS (6)


SHORT ANSWERS (21)


OPINIONS


-----------------------------------------------------
NEW TOOLS FOR ELEMENTS 3
-----------------------------------------------------

After some inexplicable trouble with the website (that came down to a single space in the code...) the Hidden Power Elements 3 site is up, rebuilt, and navigable for all: http://hiddenelements.com. This site does not leave Elements 2 users behind, it just adds a dimension for Elements 3. This month I was able to add a few new tools for Elements 1, 2 AND 3. These include the brand-new Hidden Power Infrared tool, the free Bud's Frames for Elements 3, and a how to on running Photoshop actions in Elements. There are new immediate downloads for most tools, and more stuff to follow quickly in the coming weeks. Check out the current list of downloads on the website.

The Hidden Power Infrared tool was added this past month at the request of users. The Infrared tool makes the most of converting RGB color images to mimic black-and-white infrared. Infrared effects have some distinct characteristics, like glowing foliage, black skys and water, film grain, and a dramatic "other-worldly" feel. To shoot true infrared effects, you will likely have to use film, but the Infrared tool is a good digital substitute, with the ability to adjust results in a way that isn't possible when shooting IR film.

Bud's Frames A for Elements 3 are a set of 22 picture frame effects for images developed by Bud Guinn. These actions have been updated from the actions released for Elements 2. There is no limitation on image size, for example. The effects should install to and work in Elements 1 and 2, but I haven't tested. Feel free to send me your results! Elements 1 and 2 users will have similar frames when using the Hidden Power Actions tools.

I also posted a tutorial on How to Run Photoshop Actions in Adobe Photoshop Elements. I am hoping that some industrious persons will scour the internet for actions and report back on which can be used with Elements as is. collecting a list of actions that don't work will keep people from re-testing the same stuff, and will help develop a target list of actions for conversions. I'll post the results on the website and in the newsletter.

New tools on the horizon, anmd likely due out in the next month include: a Curves Tool & Channel Target combo (more to it than meets the description), a new base free tool set for Elements 3 with some exclusive tools rolled in (like simple curves), a tool set for foreign language versions of Elements, two more bud's frame sets for Elements 3 (B and C), and two styles sets from Al Ward.

One thing about this issue of the newsletter that you may have already noticed: newsletter is now all HTML, In fact, I have converted ALL the back issues to HTML so it will be easier for everyone to access them from the website. This change will allow for me to add images, hot links, and more interesting formatting for the coming issues. Don't be fooled by expensive imitations: the Hidden Power newsletter for Photoshop Elements was the first, and will continue to be the best. It will also continue to be free. If you haven't read past issues, you can get all 13 online. FREE.

Please send questions and requests as they arise! thebookdoc@... One more planned enhancement to the website is a request line. This will be up before the end of the month.

--------------------
BUY IT NOW
--------------------

Below is a list of products that are useful for those who work with Photoshop Elements.

Adobe Programs:
Get Photoshop Elements (for PC):
http://aps8.com/ elements3.html
Get Photoshop Elements (for Mac):
http://aps8.com/ elements3mac.html

Books:
Get The Hidden Power of Photoshop Elements 3:
http://aps8.com/ hppe3.html
Get The Hidden Power of Photoshop Elements 2:
http://aps8.com/ hppe.html

Tools:
Get the Hidden Power tool set for Elements 3 (the same set that comes with the book, without the book):
http://www.sybex.com/sybexbooks.nsf/booklist/5028
Free, downloadable Hidden Power tools:
http:// hiddenelements.com/downloads.html
Hidden Power Infrared:
http:// hiddenelements.com/Mend
Hidden Power Mend (Healing tool):
http:// hiddenelements.com/Mend
Hidden Power Dynamic Image:
http:// hiddenelements.com/dynamic

Equipment:
Calibrate with ColorVision Spyder (complete package):
http://aps8.com/ calibrate.html
Calibrate with ColorVision Spyder (just the Spyder):
http://aps8.com/ spyder.html
Kensington Expert Mouse (what I use for image editing):
http://aps8.com/ trackball.html
Kodak DX 7630 Digital Camera (point-and-shoot recommended in issue 13):
http://aps8.com/ kodak.html
Canon Digital Rebel (midrange SLR recommended in this issue):
http://aps8.com/ canonrebel.html

----------
FAQ
----------

These questions continue to be frequently asked since the last issue.

--
Q: I try to install, see a DOS screen flash, and the installation seems to fail. Where can I get an installer that works?

A: The flash you see is the installer doing its job. The Hidden Power tools are already installed. Restart Elements, and you'll find them in the Effects palette.

--
Q: Please provide the password for installing the Hidden Power of Photoshop Elements.

A: Please read the introduction to the book...you'll find what you are looking for, along with some other handy information.

--
Q: I can't install the tools, can you help?

A: There is extensive troubleshooting information on the website. Please visit the site and try all the solutions. If you still have trouble, please let me know.


---------------------------
LONG ANSWERS
---------------------------

1. Installing Actions in Elements 3
2. Should Layers be Grayed for .bmp Files?
3. What Happened to the Hidden Power Website (hiddenelements.com)?
4. How Can I Make a JPEG Web Image Transparent?
5. Medium-priced Digital Camera Recommendation?
6. Are You Nutz, Richard?


-
1. Installing Actions in Elements 3
-

Is it possible to run Photoshop actions in Elements? I have seens
some actions for Photoshop that I would like to try, but I can't for the
life of me see how to install these in Elements.

You can run certain actions in Photoshop Elements. This is originally what I released the Hidden Power Actions tool to do. Later on when Adobe cut off access to the way I implemented that tool set, I decided to install tools through the Effects palette. This actually still works in Elements 1, 2 and 3, and requires no knowledge of HTML or XML. In other words, you don't need to know any code to get it done.

I've written up a set of steps here to give you a little more than the basics. A full-blown whitepaper on running actions in Elements can be found on the hiddenelements.com website: How To Run Actions in Adobe Photoshop Elements 3, 2 and 1

1. Locate or create an action that you want to run in Elements.
Actions for Elements can be found on the web, or you can create them yourself — if you have access to Photoshop (6, 7 and CS). Action files work on both Mac and PC, without alteration. Save the action file into a folder that is named to categorize the action.

2. Set Up the Action Preview.
The action preview image is the key to launching your action in Elements. This image file displays in the Effects palette and points Elements to the action you are attempting to run. Photoshop actions that you download from the internet will not have this preview image, so you will have to create the preview in order to kick off your actionin Elements.

a. Open Photoshop Elements.

b. Create a new image that is 64 by 64 pixels. Do this by choosing New from the File menu (File > New), or by pressing Command/ CTRL+N (Mac/PC) on your keyboard. When the New dialog appears, enter the name for the action, change the dimensions to 64 by 64 pixels and make the mode RGB.

c. Design your preview image as desired. This image can be changed later on after you run the action and are sure that it works. In fact you can use a sample of what the action does to create the preview after you run it. After you have created the look you want flatten the image (you may want to save the file with layers before flattening).

d. After flattening the image, open the Layers palette and double-click the Background layer. This will open the New Layer dialog. Change the Name of the layer to match the name of the action that you want it to run.

e. Save the file as a Photoshop document in the folder where you saved the action (.atn). When saving be sure that the option for Save Layers is checked.

3. Install the Action Folder in Elements.
You will need to locate the Effects folder in the Elements program folder. The Effects folder is located in slightly different places on PC ( C:\ Program Files\adobe\Photoshop Elements 3.0\Previews\Effects) and Mac (Applications: Adobe Photoshop Elements 3: Previews: Effects). Copy or move the entire category folder that you created in Step 1 into the Effects folder in Elements. After you have added the action category folder to the Effects folder, you have effectively installed the action. All that is left to do is make Elements recognize the new files and run the action.

4. Delete the Effects Cache folder.
To delete the Cache folder, just dump it in the trash and empty the trash. It is best to do this when the Elements program is not running. When you restart Elements it will look for the Cache, and when it doesn't find it it will rebuild according to what is in the Effects folder. In effect this forces Elements to recognize the new files you have installed.

5. Restart Elements.
Restart Photoshop Elements (e.g., from your desktop shortcut). If the Effects palette is not visible, open the palette by selecting it from the Window menu from the menu bar in Elements. If using Elements 3, choose Effects from the drop list at the upper left of the palette. With the Effects palette in view, allow Elements some time to rebuild the cache and display. Depending on how many items you have in the Effects, this can take a while. Be patient. When rebuilding activity seems to stop, take a look for your new action by viewing the list, or by selecting the category from the drop list. If the action appears in the list, you are ready to run it.

6. Run the Action.
To run the action, be sure an image is open, and double-click the thumbnail in the listing. An image must be open for the effect to run, even if the action opens a new image during the action.

-
2. Should Layers be Grayed for .bmp Files?
-

I use PSE2, and I'm trying to edit a .bmp file, but my layers palette is
completely grayed out. Why is that? Is editing .bmp files different in
PSCS?

There is more than one type of file that is called a bitmap, and a difference between bitmap mode and a bitmap file type. One type of bitmap is a bitmap mode file. It is a literal black-and-white file (a bit-depth of 1) where pixels are either on or off forming a black and white pixel grid (no grayscale). A .bmp file is referred to as a bitmap file as well. However, .bmp files can be RGB and Grayscale mode and can have 24-bit color. Traditionally, a .bmp file is considered as a PC file type — and it is not in bitmap mode. In some sense, all non-vector (fixed resolution) images are bitmaps in that they are mappings of bits. However, reference to a "bitmap" file is usually the .bmp file type or the bitmap mode. The Bitmap mode and .bmp file type are used for very different things.

If you have a black-and-white 1-bit bitmap, the file itself will be in bitmap Mode, and this will limit what you can do with the file pretty severely. The file will have only one layer and you will be limited to working with it in pure black or pure white. This seems to be what you are describing. This type of bitmap file will not support layers, which would explain why the layers options are grayed out. Elements (and Photoshop) are context sensitive: when a feature is not available in a particular mode, it is grayed out and rendered inaccessible.

When editing in PSCS or Elements, Bitmap mode files behave pretty much the same. To edit bitmap mode files using layers and other features, you will want to switch, at least temporarily, to another mode that supports these features (e.g., RGB or Grayscale). Be aware that changes you make that result in grayscale will be converted to a black and white pixel mapping if you switch back to bitmap mode. Additional layers will be flattened in the result.

Circling back to the idea that bitmap mode and bitmap file type are different things, you should be sure why are you working in Bitmap mode or with a .bmp file type, and that the mode and type are the result that you want. Usually bitmap mode files are used to store lineart. That is, if you are making a scan of a line-drawing, like pen and ink, you might make the scan in bitmap mode at a high resolution, 600- 3200dpi. The resulting bitmap will have the benefit of high resolution (so that curves and edges appear smooth and sharp, rather than blocky), and the high resolution will not carry the bulk that you have in a higher bit-count file. For example, if you scan line-art in a bitmap mode file at 1200 ppi, the file would be about 8 times the size as a grayscale file, and 24 times the size in 24-bit color. Likely you would want to lower the resolution of the 8-bit and 24-bit images as the information in those files will affect output differently than a bitmap mode file. As for storing images in .bmp mode, it is likely not the best choice. TIFF is more commonly used for storage and for print, and is likely more compatible with other programs and layout. In short, if you don't have a specific reason for using bitmap mode or .bmp file type, don't.

There is more information about file type, mode and bit-depth in the Hidden Power books. But if you have more questions about mode or file format that you don't think I answer here or there, I'd be glad to fill the information in.

-
3. What Happened to the Hidden Power Website (hiddenelements.com)?
-

Your PE2 book website and forum website both proved valuable resources.
I have not been able to access the site recently. I do hope you plan to
update them to PE3. Will you, and if so when?

First, thanks for contacting me about the problem. The site has never been down, really, but apparently it was not visible to a select group of visitors due to some incompatabilities. The great disappearance of the Hidden Power website was temporary, and only affected people using particular browsers, and those using Norton Security.

I had spent several weeks earlier this year after the release of the new book updating the Hidden Power site for Elements 3, and then I added back the Elements 2 materials. Regretfully, at the same time, an error in the page code propagated and made the pages inaccessible to some visitors. Of course, many, like yourself, just assumed that the site was down. Meanwhile I could browse it just fine on my Mac and PC, and I had no idea anything was wrong -- till hits to the site started to drop.

You may have been visiting the site just after the change. I fixed the problem as soon as I was aware of it. The updates to the site are an ongoing thing at this point. For example, I converted all the back issues of the newsletter to HTML (from RTF and TXT files), and have finally had some time after fixing the troubles to add in some new tools (Infrared and the free tools). I continue to try to get others (authors, developers, knowledgeable Elements users) involved to help add content. This will hopefully lead to more content in the way of tools and more tutorials and articles./ p>

I'm hoping the navigation of the site has been simplified by the changes. Certainly the look of the site has been changed: it is more text oriented. In the long run I will probably do something to enhance the look of it...I stripped out a lot of things attempting to find the underlying problem. At the same time, I also changed services to one that will allow me a little more flexibility in development (to automate download after purchases, for example). The drawback was that I had to rebuild everything from scratch (as the previous system was proprietary) and it took some time. I will eventually be setting up an area for tips and tutorials, which should be a big draw alongside the newsletter archive and tool downloads (I've got plans to continue to enhance the latter). The How to Run Actions in Adobe Photoshop Elements white paper is currently the only tutorial on the site. I have 20 or more articles that I hope to be converting over the next few months. I am open to suggestions.

I welcome interest from readers who want to help as well as anyone who wants to contribute tools and tutorials. I'm convinced this site can become the ultimate resource for Elements users. And please, if you see something wrong on the site, let me know!

-
4. How Can I Make a JPEG Web Image Transparent?
-

I have a JPEG that is jagged around the edges and doesn't have a transparent background. I do not have the original psd file. Is there a way to resave this JPEG maybe to a GIF so I can have a transparent background while not loosing quality. I need this image for a website.

I think that you know by the way you asked the question that the result would be better to do from the original image, because the JPEG compression will affect the result. There is also a question of resolution, and whether you have what you need already separated in the original. However, since you asked this way I'll approach the answer as if going back to an original isn't an option.

JPEG images will not support transparency. You can make them appear to be transparent by matching background colors, but sometimes you will need genuine transparency, where you can see through certain areas of your image to whatever is in the background. In this case you can use either GIF or PNG images, as both support web transparency. PNG offers some advanced features, but those files may be less compatible with certain browsers. GIF image transparency is perhaps less sophisticated, but it is more broadly compatible with browsers.

You can convert from the JPEG file to GIF to create transparency for the web. You will have a little bit of a challenge creating the transparency depending on the content of the image. From what you describe the image is already somewhat degraded, either by the compression or lack of resolution. Making the image partially transparent will likely not solve these problems, and you may need other corrective intervention.

As far as making part of the image transparent, try this:

1. Open the image.
2. [I assume the image is flattened] double-click the Background in the layers palette.
3. Make a selection of the part of the image that you want to make transparent.
4. Press Delete. This will remove the selected area.
5. Save using Save for Web, and use GIF and Transparency options.

The problem you will likely run into here is that the selection will not be tight to the object. You may want to fiddle with the selection using various means of selection adjustment (anything from starting over to using expand/contract). If there are drop shadows, you might want to consider recreating them...drop shadows in transparency situations can be tricky. I have an article on my Photoshop website (http://ps6.com) that needs some updating for the examples, but discusses transparency for print and the web in detail. You may want to explore the tutorial links there.

-
5. Midrange Digital Camera Recommendation?
-

In the last issue of the newsletter you made a recommendation for
a budget digital camera (Kodak Easyshare DX7630). Do you have a
mid-range recommendation?

My concerns for a mid-range camera would include flexibility and durability. The difficulty here is that you can either get a high-end point-and-shoot, or a lower-end SLR. Anyone spending mid-range money is likely more serious about digital photography, either that, or they just have money to burn. I really think that in either case I would recommend the Canon Digital Rebel. My reasoning is simple: it is the lowest cost digital SLR from a major manufacturer, and it gets good reviews just about everywhere. I don't own this camera, but I've used one. Having an SLR will allow you grow with your experience...you can add lenses to suit your shooting needs, work in various manual modes, and do all the stuff that you might with a high-end analog camera in digital for a comparable price. The 6.3 megapixel image is what I calculated and continue to believe is equivalent of 35 mm film.

Here is a review (not my own): http://www.dcresource.com/reviews/canon/ eos_300d-review/index.shtml

Some notes on the article: very nicely considered and complete. I have no real gripes with the content whatsoever.

Again, keep in mind digital camera shopping is not a one-size-fits-all sort of thing. You really need to get out to the stores and hold the darned cameras in your hand. The feel of my Sigma would turn off a lot of people who want a pocket camera. Those with big hands will want a bigger camera to provide some grip...those who don't want a lot of bulk would get frustrated lugging a camera bag instead of having a sleek camera they can really slip in their pocket.

Though I have only had my hands on a Digital Rebel for a few shots, I found it easy to use and would consider it an infinitely better choice for those who are turned off to digital because they like the options offered by their analog SLR. This camera bridges the gaps in price and performance, as well as in options. However, take your own personal needs into account when shopping for a camera. You may find something better for you.

Shop for the Canon Digital Rebel on Amazon

-
6. Are You Nuts, Richard?
-

[To preface this, I get a lot of email, and I try and answer it all. Most of the time it is a simple query, and sometimes they are complements or other comments that I can only say 'thanks' to. Sometimes people get a little peeved over having difficulty with a tool installation (which is understandable). And other times, and thankfully rarely, I get accused of terrible Internet schemes that I have planned to bilk cash from people. Some have suggested I was selling books or software that I knew didn't work, that I posted techniques that can't possibly do what they say, or that I was being greedy by selling tools rather than giving all of them away. Once someone accused me of writing a bad technique that was in another book by another author that I had absolutely nothing to be with. In all, even if I engaged in a small percentage of the things that people have accused me of, I would gain a bad reputation mighty quickly, and that might not work well for sales. Almost anything can be twisted. This may be another of those situations where you can please some of the people some of the time...]

Are you people nuts? What kind of response is this?!? I complain that
the CD fails to install and that the book and CD give conflicting instruction
(the CD says the password is on page 23) and you send my message
back to me (albeit promptly) with a salutation of "Enjoy" without answering
the question?!

The email that you received was an automated response simply confirming your question was submitted. Sorry that it offended you. There is no team of "people" manning the email — just lil ol' me. While it would be great to have that kind of time, I am not sitting in front of my computer 24 hours a day waiting for the next question to arrive. I used an automated response to let you know I received a message...it wasn't meant as an answer to the question, and I don't believe it poses as such. The confirmation says: "You sent the following Request to Richard Lynch from the hiddenelements.com web site." and : "All attempts will be made to fill popular requests and answer promptly (if that is required)." [This particular submission system was on the old site and is not currently in use, but it will be restored shortly.

I don't know that an auto-response warrants your accusation about being nuts. Lots of web sites use auto-responders for very similar purposes...The hope is to let visitors know that request are received and have not fallen into some black hole. As finicky as the web is, you can't really be sure that submisions are received without a confirmation. It also puts a little pressure on me to send an answer.

In any case, I have read your email. Sorry you had trouble with the installation. You said that there was something wrong with the CD. It is highly unlikely that the CD is bad, and even less likely in your situation as you suggest you were able to read the installation instructions from the CD. If you can open that file on the CD, chances are the CD and the files on it are fine. Actually, if you entered the password and a black screen flashes, chances are that the tools are already installed. This is the most common problem that people have with the installation: it goes too quickly. Have you checked in Elements to see if the tools are there?

About the page number — it was my idea, admittedly, but the publisher's execution. I asked if they could put a page number in the readme on the CD. When I asked, the book was not yet paginated so I couldn't tell what page the password was on. You see, the publisher creates the CD...they also do the layout for the book, and I have no way of knowing what will fall on which page. It is likely that different departments at the publisher make the CD and layout, so there isn't even a person at the publishing house that is really to blame. As it turns out, someone doing the CD materials probably got a page proof, counted in 23 pages from the front of the book and determined the password was on "page 23". Regretfully the pages were not numbered from the beginning of the book. The password is in the introduction, which I suggest that everyone using the book read: It has valuable information, like the password. Apparently you found it, however.

If you would like to tell me exactly what the instructions were that made you say: "I have never encountered a more screwed up set of instructions to install a CD." I'd be glad to know. The instructions for installing, from what I understand, should pretty much say: "double-click the installer and let it do its thing". Your one need was to find the password, which you did successfully — even though it was on a different page than noted on the CD. If the tools are already installed and you just haven't looked for them, perhaps the installer isn't so screwed up after all...

Thanks for writing.

----------------------
Short Answers
----------------------


-
1. An Elements 3 Book?
-

> I am working with your Hidden Power book
> and the tools for Elements 2. What about
> Elements 3.0?

The book and tools have been updated for Elements 3: See the Elements 3 book on Amazon

-
2. How to Use Duotone Previews
-

> On page 127, The Hidden Power of Photoshop
> Elements 2, I click on the
> Duotone_Preview_Bar.psd I get a large solid
> color bar come up in sepia or pantone
> color. What am I supposed to do with this?
> I already know what color I'm using. If I go
> into the Hidden Power tools and click on the
> Duotone Power Bar a bar comes up in the image
> I have on the desktop showing the gradient from
> dark to light color. What I'm I supposed to do
> with this?

I am pretty sure this is discussed in the book, also on 127. The PSD file is for manually testing gradients to be sure they are helping you create the kind of tone/ color response that you want in your duotones. You can use it to see a preview of the smoothness of the tone and color gradient in a way that will not be apparent in the image. See figure 5.16 on page 122. The testing should show a smooth gradient in just about every case (excepting special effects).

The automated tool I included creates the bar right in your image as a preview. the removal tool takes it out once you have checked the duotone. The PSD and automated tool are two different methods to check the same thing: that your duotone is working with, rather than against, the tone of your image.

-
3. Installing the CD Images
-

> When I click on the examples on the CD, I get
> neither explanation nor installation, just the
> Control Panel listing of the files. Can you
> help me to get this up and running so I can
> begin to work with the book?

Please read the introduction to the book where you will find out more about the tools and installation. The book is the explanation for the tools; installation is a matter of kicking off the installer. This installation will not install the images/ examples. You only need these example files to follow along with the exercises in the book. Just access them as you need them by opening with Elements from the CD.

-
4. Compare Mend and Healing
-

> How do PE3's Healing Brush and your Mend Tool
> relate to each other [basically duplicate,
> overlap, have similar and different qualities]?

The Healing tool in Elements 3 and Hidden Power Mend (for Elements 1, 2 and 3) do a very similar thing. Healing will be quicker and perhaps less flexible than Mend. Mend will create a set of layers with the tone and color changes so that you can adjust them individually--a flexibility that Healing does not provide. I built the Mend tool for Elements 1 and 2 users because they didn't have the Healing tool, like you do in Elements 3. I am not pushing the Mend tool on PE3 users as they have Healing, but it can be educational and interesting. The results compared side-by-side will be similar, but Mend will help you understand how the Healing tool works. I think Mend is better (my humble opinion) because it will allow more adjustments and fine-tuning after the application because it leaves the correction layers as components. Healing hides all that from the user.

If you are asking how it works and how I figured it out: Duplicating the Healing tool took a few weeks - and I figured out most of it in my sleep. Same with CMYK separations. I am more of a technician than an artisan - at least when it comes to processing images. How did I figure the 150 steps? I'm not really sure...but likely it was one result at a time. How does it work? It compares color and tone and texture in the sample to the target and makes a blend. Mostly it substitutes in the color and texture of the sample into an average of the tone of the area.

-
5. Elements 3 Tool Upgrade
-

> Where can I buy and download the Elements 3 tools
> you mentioned in your February newsletter?

The upgrade tools are for sale at Sybex. You can get the tools whether or not you have the first book (for Elements 2). I recommend having one or the other, however, as the book tells how to use the tools.
http://www.sybex.com/sybexbooks.nsf/booklist/5028

-
6. Installing Tools in Elements 2
-

> I followed the steps for tool installation [PSE2] exactly and
> got an error that I could not write to the installation
> drive. I don't know what's wrong. Here's what I did: I
> double-clicked the installer, clicked OK on the introduction,
> chose the HPPSElements2 (D) disc with the browser button, then
> entered the password, and pressed extract. That's when
> I got the error. What's up?

Seems like you chose to try and install to the CD - which you can't write to - instead of your harddrive. You are not trying to locate where the tools are installing FROM, but where you want them to install TO. When you browse for an install folder, look for your Elements program folder - most likely on the C drive. The default Adobe installation folder for the program is C:\Program Files\Adobe\PhotoshopElements2 for PC and Applications:Adobe Photoshop Elements 2 for Mac.

-
7. Error in Color and Luminosity
-

> The extracting luminosity from color directions in steps
> 4 & 6 have two layers named luminosity. I believe step
> 4 should be named Composite.

I think you are right. Thanks! I'll get it in the errata for the book.

-
8. Highlight and Shadow Instead of Curves?
-

> The inclusion of "Shadows/Highlights" to adjust lighting
> in PE 3 seems to me a much easier and quicker way of
> improving many images over the previously necessary
> use of Curves, etc. For example, the exercise on pp.22-24
> of you book on Elements 3 still bases the image's
> improvement on Curves; however, in experimenting with
> that image my eye seems to see about the same level
> of improvement using "Shadows/Highlights" as with
> Curves, and it certainly is easier and quicker for me
> to use. Please tell me, am I missing something or
> superficially making changes that would be better done
> otherwise?

My book is not made of 'easier and quicker' solutions; it is about controlling your images. Some tools work better in some cases, and it is rarely the quicker one. If I have access to both tools, it is likely I would choose Curves every time. In this case it may come down to the way you like to work. I think Shadow and Highlight can work on that image, but I don't know that is it specifically "better". It certainly would not be better targeted. The point of the book is to demonstrate specific tools - especially those that the user otherwise does not have. With curves, you have specific control. With Highlight and Shadow, you have the limited control Adobe allows you. You can't really pinpoint a range for the highlight/shadow tool as you can with Curves. That Shadow and Highlight works for a particular image is not surprising, but it doesn't, from my perspective, dictate that it needs to be covered or recommended. I don't think anyone can envision exactly how that tool is affecting the image. Part of the idea behind the book is picking a tool set that can be used in any situation, and limiting that tool set for simplicity, power and control. I like knowing what is happening. With masking and curves or other means, I can specifically control a range of tones. With Shadow/Highlight I guess I could make a correction, but I would not be sure what was happening or why it worked. Curves remain my tool of choice for this type of adjustment.

-
9. Missing Steps on Page 59
-

> On p. 59 the instructions say to "repeat steps 5-11".
> On p. 58 there are only 7 steps, so I'm wondering if
> 4 steps were left out on p. 58

No steps were left out. In editorial (after the book left my hands), the steps 8-11 were changed into bullets. This may have been because of formatting I applied accidentally or some other error. Who knows. In any case, the steps are the bullets. If you number the bullets continuing from the previous section (which ends at 7) you'll find the missing steps. I'll add that to the errata.

--
10. Isolating the Flower
--

> On p. 58 (HPPE3) I don't see how you isolated the
> flower of the lily.

Following the steps for that particular exercise, the flower is not separated or isolated. The information you see as an additional layer is painted with a tool in a layer above the image, as I believe is suggested by the copy and captions in the book. As I painted, I followed the shape of the flower. The Figure in the book attempts to capture the idea that the information was added in a layer.

--
11. Converting to Grayscale
--

> Ref page 131 (hppe2) Why do you have to convert
> the image to grayscale? Can you not work with colors.
> You say duplicate he channels. Do I go into Hidden
> Power Tools Separations and select the Split RGB
> channels? You do not say to do this in the Manuel.
> How do I get the channels?

This example has to do with channel calculations. Channels are usually considered as black-and-white representations of a given color component (as explained more fully in the book's early chapters). I guess you could work with color, but frankly I would have some difficulty myself predicting a result because of the level of complexity. The idea of calculations is usually to re-define a specific channel or achieve a grayscale result. My question to you would be: "what are you trying to achieve?"

The book is cumulative...in other words, it assumes that you understand earlier concepts before moving on. In this case, you may extract channels in many different ways: Split RGB, Split CMYK, Split Luminosity and Color, etc. you could also make channels from selections, hue/saturation results, and more. The examples in the book provide...examples. Your creative sense may take you quite a lot further than the simple examples I show. I do believe that this particular section of the book says that the variations are too many to cover.

What you want to calculate depends on what you are trying to accomplish. The book is suggesting a general procedure. If I tell you specifically which channels, it is no longer general procedure. We come back to the question I ask above. If you let me know specifically what you are trying to accomplish, I can get you a better procedure.

--
12. Do You Answer Email?
--

> If you are not going to answer my inquiry
> please e-mail back and let me know if you
> are not going to waste your time.

I attempt to answer every question that I get, and I answer most promptly. The answers you see in the newsletter are usually a collection of the most interesting of these; all have already been sent in reply to the questions. Please allow some time for response, up to about a week. If I haven't answered it by then, I may have lost it in the shuffle. If you consider that I have some 30,000 readers (that is guessing, and only pertains the the Hidden Power books), you might see how it can become difficult to answer everyone's email promptly. Most authors don't even bother. Another way to get answers is to visit the forums, which frankly aren't getting the kind of use I would have expected. Try: http://hiddenelements.com/foruminfo.html

--
13. Elements 3 Book Light on Color Management
--

> I like your book, but it is somewhat light on
> color management.

As an old-timer in digital output, I tend more to the school of Dan Margulis in that I got results before profiles. I think users sometimes get bogged down in the weight of color management and I went "light" on purpose in the book...though 'light' in this case is actually pretty heavy (and likely heavier than just about any other book on Elements) considering the user has only one choice to make in the color management dialog. The book shows how to do things with a profile, rather than what Adobe would allow on the surface. I appreciate that many use color management with success, but there are only so many colors CMYK can represent in the end, and good practice and correction will likely get you more consistent and predictable results than those obtained with more invasive color management. If photographic results are really imperative, it may be better to use a photographic process (CRT or output to film).

--
14. Will You Sell My Tools?
--

> I have some ideas for tools. Would you be willing to sell them off your site?

The short answer is: Sure. The longer answer is: I am not sure. It would depend on whether I was going to be doing all the development based on the idea and what you thought was both a fair price and fair share. I hesitate to ask for ideas as I have many of my own that I really don't have time to get to, and on the off chance that someone else had the same idea, they might later think that I had stolen it. In another case you might think you have a great idea, and I might not see it that way because it either doesn't fit with the quality of tools I like to present, so I might not be interested in including it with the materials on the site; I don't want to get people angry by turning down their ideas. Sooo, a much more realistic answer is: if you have a finished product many people are going to be interested in (or already have been), and it isn't something that overlaps Hidden Power tools, I would be glad to include it in the Hidden Power download area. I would also consider short articles. But please be aware I reserve the right to reject absolutely anything, and that I have a list a mile (ok, half-mile) long already of things I want to do. I welcome anyone to discuss their ideas in the forums (see: http:// elementsusers.com).

--
15. Calculations Setup
--

> In HPPE2, page 131, Calculations setup. I attempted
> to do this with an image of mine and couldn't get it
> to work. What am I trying to accomplish? Admittedly
> I didn't try using the example image.

The idea of this section is to explain calculations in preparation for the CMYK separation — which you are approaching. If you want to do something interesting with calculations, try the manual sharpening...The idea is basically to look at a means of combining elements in your images. I believe the flower image used in these diagrams is included with the book, on the CD.

--
16. Secure PDFs From Elements
--

> The March issue of Shutterbug magazine has a good review
> of Elements 3. In it the reviewer states (on page 61) that
> you can save your image to a PDF file and then set the
> parameters so when you email it, the recipient can't modify
> or print the image. Something is evidently adjusted in the
> print driver? How do I do that?

Well, you can do this, but I don't think it is an Elements feature. PDF files can be protected from printing or editing, and that would be an option in Adobe Acrobat or Distiller. Probably even in files created through PDF online services. This can be set when printing, or after the file has been created, but from what I know you do that in Acrobat, not Elements.

That said...I wouldn't be too dependent on the security for PDFs being an ultimate safety valve for your images. A simple screen shot will make an image editable once again.

--
17. Defining Modes
--

> I've got a few mode questions. Is Color: Is it the
> same as Hue? Is Saturation the intensity of a Hue?
> Is tone the same as brightness? If so, where does
> luminosity fit in?

Modes are all defined in the back of the Hidden Power books in the section that describes Modes. Color mode affects changes in hue and saturation, not just hue...hue is hue only. Saturation is definitely the intensity of the hue, yes. If you put a drop of blue dye in a little water and then add more water, you keep the hue but decrease the intensity/saturation. If you take the blue dye solution and add a drop of black dye, the hue and intensity stay the same but the solution is a darker tone. Luminosity is tone considered outside of color: it is what is left over if you remove the color. It is a component of luminosity and color separation.

--
18. Tips and Answers for Elements 2
--

> I assume that unless you indicate otherwise, your
> tips/answers are applicable to all versions of PSE
> and Hidden Power.

It is funny...I know most books are version specific, and sometime can't help but be because of programming changes. However, techniques I use rely less on tools than technique. That is...just about everything I do should be applicable to any version of Elements. The tools and steps might be slightly different because of changes to the program, but the concepts remain the same. Just to say, most tools that I make are compatible with Elements 1, 2 and 3, and work on Mac and PC...it is the way I like to work.

--
19. It Takes a Week to Get the Tools
--

> Your order pages say it can take up to a week to get
> your tools by email. That seems like a long time to
> get an e-mail product.

Up until recently, the online ordering of tools was not automated. It takes either money or time to work out an automated solution, and I chose to keep prices low. Mend and Dynamic Image tools were personalized for each user. On the other hand, it is impossible for me to provide daily service — it would significantly raise the cost of the tool to have to fill orders every day. I will likely soon have all the tools available for immediate download. Check out the listing: http://hiddenelements.com/ downloads.html

--
20. Power Tools Deleted My Effects
--

> I attempted to install the Elements Powertools from
> the disk included with the Hidden Power of Photoshop
> Elements 3 book. Not only did the install not work,
> but it seems to have deleted almost all of the
> Styles and Effects previously installed in Elements.

Actually, if you are not seeing previously installed items, the installation likely worked as planned and you need to be patient and wait for the menus to rebuild. Please allow about 5 minutes with Elements and the effects menu open to let the program rebuild the cache. You'll see things slowly start to fill back in on the menus. This process is a LOT slower than the installation itself. My tools will never do anything to your computer or Elements; the installation frankly isn't complicated enough to cause errors.

--
21. Dynamic Image Tool for Black-and-White
--

> I am working on black-and-white images. I was
> using the Dynamic Image tool, but I am not sure
> about where to start to "dynamic image" it!
> Can you help?

My standard color correction routine will actually work to improve the dynamic range of black-and-white images. Depending on the image, Dynamic Image will work too, but it may make some images contrasty. You have the most latitude in converting to black-and-white from color images, but as you will be scanning images (I suggest scanning to RGB and converting in case there is yellowing) from B&W, you will have a little less latitude.

If I could get a sample, I could probably make better suggestions.

I did read the request: "Here's my request. I am going to start photographing old black and white family pictures. (My scanner isn't as good as my Nikon 8m Coolpix.) I can shoot in RAW and I've almost got everything I need to double polarize the shots. But if they are black and white shots, I'm not sure the tools I use the most (see above) are what are best to bring out the best in the images. I realize I'll probably need to touch up the pictures first. I like the restoration part. Thankfully, they aren't in too bad of shape. Not sure about where to start to "black and white correct and dynamic image" it!"

however, I am not sure exactly what it is that you are requesting. What do you want a tool to do for you?

-----------------
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.

--
I got your Infrared tool and it is really fabulous! I've had a few other plugins (more expensive ones) and I don't have the control or results I get with this. Good job!

--
As a new purchaser of Hidden Power of Elements 3 and am overwhelmingly impressed. Keep up the good work, and subscribe me to the newsletter!

--
Just bought Hidden Power for PSE3, and love it so far. It's like that first week in a good college class when you look through the textbook and can't wait to understand (and yet can't imagine ever understanding) the stuff towards the back.

--
Regarding Hidden Power of Elements 3: Love the book!
Thank You, Thank You, Thank You!

--
Are you people nuts?

--------------------------------------------------------
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 and The Hidden Power of Photoshop Elements 3

http:// hiddenelements.com

Copyright © 2005 Richard Lynch
------------------------------

--------------------------
  Hidden Power Newsletter
  February, 2005, Vol.13
  --------------------------

  The Newsletter for Elements Users

  -----------------
  IN THIS ISSUE
  -----------------

  THIS MONTH:

  In this issue we look at The Hidden Power of Photoshop Elements 3.
It is time to solve those  installation problems, find out a little
more about sharpening, take a cut at splitting a  channel in a
different way, and find out why Photoshop is boring...


  WEBSITE UPDATE, TOOL UPGRADE RELEASED, HIDDEN POWER 3


  BUY IT NOW


  FAQ


  LONG ANSWERS ()


  SHORT ANSWERS ()


  OPINIONS


  -----------------------------------------------------
  WEBSITE UPDATE, TOOL UPGRADE RELEASED, HIDDEN POWER 3
  -----------------------------------------------------

The Hidden Power of Photoshop Elements 3 was released a few weeks
after my last newsletter in  November. Since then I've been working
on updating my website and getting together some  tutorials and new
tools, while answering installation questions. I've also been trying
to  work out a deal with the publisher to distribute the tools for
Elements 3 users separately  from the book. We finally got that
together.

A beta for the web site up: http://hiddenpowertools.com. I got that
done at just about the  same time that the deal I had worked out with
the publisher for selling the tools separately.  I welcome your
comments on the website. If you don't want to get the book this time
around,  you can find the tools sold separately on the Sybex
website:  http://www.sybex.com/sybexbooks.nsf/booklist/5028 . You can
buy them and download/install  TODAY. I hope that this serves those
who were looking to just get the tools without having to  buy the new
book.

New tools on the Horizon include a Curves Tool & Channel Target combo
(more to it than meets  the description), Quick Mask, a tool set for
foreign language versions of Elements, and a  well-delayed type tool.
Free tools are a little further off, but I am sure to have some in
the coming months.

Please send questions and requests as they arise! thebookdoc@...


  ----------
  BUY IT NOW
  ----------

By purchasing items using the links below, you will help to support
Hidden Power development  while getting the best prices around.

Get Photoshop Elements (for PC):
      http://aps8.com/elements3.html
Get Photoshop Elements (for Mac):
      http://aps8.com/elements3mac.html
Get The Hidden Power of Photoshop Elements 3:
      http://aps8.com/hppe3.html
Get only the Hidden Power tools for Elements 3:
      http://www.sybex.com/sybexbooks.nsf/booklist/5028
Calibrate with ColorVision Spyder
      (complete package): http://aps8.com/calibrate.html
      (just the Spyder): http://aps8.com/spyder.html
Hidden Power Mend (Healing tool):
      http://hiddenelements.com/Mend
Hidden Power Dynamic Image:
      http://hiddenelements.com/dynamic


  ----------
  FAQ
  ----------

I've gather a few select items for those who don't have time to read
the whole newsletter.  FAQ stands for Frequently Asked
Questions...and I have gotten these few questions that follow  in
various forms over the past several weeks. I hope they help.

--
Q: I try to install, see a DOS screen flash, and then nothing...

A: The flash you see is the installer doing its job. It is likely
that the Hidden Power tools  are already installed. Just restart
Elements, and you should be good to go. If not see #4  under the Long
Answers for more in-depth commentary on installation and
troubleshooting for  the tools. I forgot to put the install
confirmation in the PC installer...and installation  happens in a
virtual flash.

--
Q: Please provide the password for installing the Hidden Power of
Photoshop Elements.

A: Please read the introduction to the book...you'll find what you
are looking for.

--
Q: You said you'd be making the tools available separately from the
book. Have you done that  yet?

A: Sybex, my publisher, and I have agreed on terms for selling the
tools only. You can get  the tools from the Sybex site:
http://www.sybex.com/sybexbooks.nsf/booklist/5028

--
Q: I didn't see a set of free plug-ins for 3 on the Hidden Powers
site. Is there one? Do the  current ones work with 3?

A: There will be a set of tools for Elements 3, eventually. It takes
some time to put them  together. I'll announce in the newsletter and
on the website when it is available.


--------------------
LONG ANSWERS
--------------------

1. Isolating a Channel
2. Photoshop is boring
3. How Is It Best to Sharpen?
4. Why Can't I install the tools for Elements 3?
5. Digital Camera Recommendation?


  -
  1. Isolating a Channel
  -

<<I have been able to use your RGB tools for separation, and have
followed the tutorials in  the book for separating out channel
information. However, when I use the automated tool, it  flattens the
image, and I want to sometimes make a targeted change to a particular
layer. If  you can answer the following question, I think I'll know
what to do to solve my various  queries. How do I create a red
channel? From a single layer?>>

The quickest way to do this may be to just copy the layer you want to
work with into a new  image and then run the RGB tool. Several Hidden
Power tools use similar technique, creating a  new image to allow a
calculation or other layer-based function. Creating the new image
allows  you to use tools from the book to speed up the separation.

If you want to make the separation in the same image, you can do it
without the tools (or  instruction from the book) by manipulating
layers manually. If all you want is the red  component, I have an
easier, quicker method than described in the book. The book process
was  designed to help make sense of the digital flow; the following
steps just get the job done  quickly:

  1. Duplicate the Background layer. Change the name of the duplicate
layer to Red Channel.

  2. Create a new blank layer grouped to the Red Channel layer. Call
it Red Fill. Fill the Red  Fill layer with red (RGB: 255,0,0). Change
the mode of the layer to Multiply.

  3. Create a new Hue/Saturation adjustment layer and group it with
the Red Fill layer using  the Group With checkbox in the New Layer
dialog, then click OK. Choose Reds for the Edit mode  in the
Hue/Saturation dialog when it appears.  Slide the Saturation slider
all the way to the  left (-100), and the Lightness slider all the way
right (+100).

You now see the red channel. If you click on the Red Channel layer
and press Command/CTRL+E  the layers will merge and the red channel
will be left as a layer. Of course you can use the  above technique
to extract green and blue image information, too. You just need to
change the  names and color.

To isolate the red channel without flattening the file (and without
my Hidden Power tools),  it is just 5 easy steps, based on those
above:

  1. Create a new layer at the top of the layer stack, and press
CTRL+ALT+Shift+E/Command+Option+Shift+E (PC/Mac) to stamp visible.

  2. Create another layer at the top of the stack and fill with red
(R=255, G=0, B=0). Change  the color layer to multiply and merge
down.

  3. Add a hue/Saturation adjustment, (not an adjustment layer).
Choose Red from the drop list  and set lightness to +100. The layer
should turn grayscale, revealing the red channel.

  4. Add a red fill layer grouped to the Red component, and change the
mode to Multiply.  Change the mode of the Red component layer to
Difference. This will subtract out the  influence of the red channel
in the current image.

  5. Duplicate the Red component layer and the fill layer and group
the duplicates, then set  the layer mode of the Red Component copy to
screen.
Make adjustments that you need to the Red Component copy.

You can then play with grouping and masking as necessary to get
maneuver your change into  place in the layers.


-
2. Photoshop is boring
-

<<When I got Photoshop Elements, I thought it was going to be a lot
of fun. I haven't been as  entertained as I expected. It seems to me
you have to go into it with something in mind, or  else you just
don't get much accomplished. Am I missing something?>>

I have taught creative writing and creative imaging, and perhaps this
isn't what you want to  hear but 'boring' is in the eye of the
beholder. If you are going into Photoshop Elements to  do something,
it isn't the program that you will have to expect to perform tricks
or keep  your interest like a video game might. YOU have to provide
the interest, and perhaps that is  one of the hardest things to come
to terms with. If I am writing a story and it turns out  boring, it
is either because I was unable to do something interesting or just
having a bad  creative day...I'd be hard-pressed to blame that on MS
Word (no matter how delightful doing  that might be).

I, for one, very rarely find that there is nothing I can do in
Photoshop Elements to make an  image more interesting. Usually, in my
case, that means cleaning up the defects and  correcting tone and
color. Not everyone will find delight in that like I do. If I were
looking for something more entertaining, my direction might be as
frivolous as running a few  filters on an image, or opening an image
(or several) at random and playing with it to  achieve some
interesting results.

In writing as with images, teaching creative stuff was always a
matter of getting students to  realize it was OK to play. My guess is
you don't see using Elements as a game. It is likely  you either
expect to perform at a specific level, or don't know what you might
do that is  fun, and have led yourself to an impenetrable wall of
disappointment -- not getting enough  from the program.

My books (Elements 1 & 2: http://aps8.com/hppe.html; Elements 3:
http://aps8.com/hppe3.html)  don't really get into teaching
creativity. A book that promised to make a reader more  creative
would essentially have to teach creative behavior rather than how to
get things  done. In other words, a text to learn creativity would
coax a user to play and experiment in  order to find the 'fun'. It
doesn't really take a lot of space the way i just wrote it. I can
teach techniques for creativity, but I can't promise to make a reader
creative if they have  no capacity or interest in experimentation and
play...Sometimes that comes from having no  goals or expectations at
all. Again, it isn't the tool or the book or the inspiring object
that makes us creative, it would still be the sense of play.

My prescription to try and solve your boredom would be to go into the
program without  expectation. Open an image and start by doing some
basic things like dust corrections and  other perhaps mechanical
procedures like color correction until you see something in an image
that strikes a fancy. If it is interesting enough to explore, you'll
start playing with  solutions...I bet you might find some inspiration
there.


-
3. How Is It Best to Sharpen?
-

<<Isn't using unsharp mask in LAB supposed to be better than just
sharpening an RGB image?  Can it be done in Elements? Which channel
gets sharpened?

First, sharpening should be used to improve images that are already
good -- not to sharpen  blurry images. I get more into that in the
book, but think it is good to start with that  here. The specific
problem of sharpening an RGB image is that you sharpen the color
along  with the tone: everything in the image edges is enhanced,
including color noise. That's where  you have the problem.

The allure of sharpening in LAB mode is that color is extracted from
tone. I talk about this  a little in the book having to do with the
Luminosity and color separation and RGBL. with  tone separated from
color, you can sharpen just the tone to define edges, without
enhancing  color noise.

If sharpening in LAB, you will most likely apply the sharpening to
the L channel, or  Luminosity. This will improve edge contrast for
the tone without reeking havoc on the image  color. You can do a very
similar thing in Elements without leaving RGB by doing the following
(again, here, without the tools):

  1. Create a new blank layer at the top of your layer stack and name
it
Sharpen.

  2. Press Cmd+Option+Shift+E/Ctrl+ALT+Shift+E (Mac/PC) to merge the
content of the image to the Sharpen layer.

  3. Change the Mode to Luminosity.

  4. Sharpen the Sharpen layer using Unsharp Mask.

Because the upper layer mode is luminosity the result will have less
effect on the color. You can make the difference even less by first
converting the Sharpen layer to tone:

  1. Create a new blank layer at the top of your layer stack and name
it
Sharpen. Fill with 50% gray. Shut off the view for the layer.

  2. Create a second new layer at the top of the stack and name it
Source.

  3. Press Cmd+Option+Shift+E/Ctrl+ALT+Shift+E (Mac/PC) to merge the
content of the image to the Source layer.

  4. Change the Mode of the Source layer to Luminosity.

  5. Merge Down (press Cmd/Ctrl+E)

  6. Change the mode of the Sharpen layer to Luminosity.

  7. Sharpen the Sharpen layer using Unsharp Mask.

You may not see a lot of difference between these two techniques, but
careful comparison (you might want to use Difference mode) will show
quite a lot. The second set of steps will result in something nearly
identical to
what you'd get in Lab without the mode switch.

Blurring color will likely improve the results, by reducing color
noise!


-
4. Why Can't I install the tools for Elements 3?
-

<<I have tried to install the Hidden Power 3 tools several times, and
I can't seem to. Do you  have some definitive trouble-shooting
information?>>

This is actually quite a large order. While probably 99% of people
trying to install have no  trouble at all: they just click on the
installer and the tools end up in Elements...no  problem. Some
people, on the other hand, can go through trouble for several
frustrating hours  hoping only to install the tools. This part of the
newsletter is dedicated to avoiding those  problems. I'll be posting
this separately to the website as well.

There are a bunch of little things that can be going wrong...I have
had experience with  everything from people trying to install the
tools without installing Elements, people  installing to a second
installation of Elements and opening the wrong program, people
having  trouble because of various system-unique problems (one person
had a CD-ROM player that did  not function, another no CD-ROM
player), to more standard problems, like virus protection  getting in
the way, or the tools getting installed and the user not knowing
(failing to look  in the program or failing to restart Elements after
the install). There are a plethora of  simple problems you can have
during installation of even simple software. I'll try to go  through
what I know here.

First, here is how you should install:

INSTALLATION
1. Turn on your computer.
2. Disable virus protection.
3. Insert the Hidden Power CD from the book into your computer's CD-
ROM drive.
4. Locate the Hidden Power tool installer on the CD (if the CD
autostarts, you will use the  Power Tools link; if the CD does not
autostart, the installer will be in the Power Tools  folder).
5. Close out of Elements if the program is open or opens on startup.
6. Double-click the installer that you located in step 2.
7. Read and address any installation screens that appear on your
monitor.
8. Restart your computer.
9. Enable virus protection.
10. Start Photoshop Elements 3.
11. Check in the program for Hidden Power tools. You will find them
in the Styles and Effects  palette. Open the Styles and Effects
palette by choosing Styles and Effects from the windows  menu. Choose
Effects from the drop list on the left and the Hidden Power tool
categories  should become available in the drop list at right (it may
take a few minutes for Elements to  rebuild the cache...).

If you called me on the phone, the first thing that we would likely
do is run through the  installation as per the steps above. They are
a little conservative (meaning all those steps  are rarely
necessary), but effective in most cases.

If the installation is complete and you still cannot access the
tools, please follow the tips  in the trouble-shooting section just
below. Take the steps in order, one at a time.

TROUBLESHOOTING
A. Be sure you have followed all the instructions in the installation
instructions above,  including disabling virus protection and
restarting your computer before bothering with  troubleshooting. Some
of the following trouble-shooting steps may seem redundant. Please
humor me...

B. Reboot your computer, then restart Elements. Check for the tools.

C. Be sure the tools you are installing are in the Elements Effects
folder. The Effects  folder is in the previews folder (Photoshop
Elements 3.0/Previews/Effects). You can find this  folder in the
Elements program folder, as follows:

      PC installer will install to:
           C:\Program Files\Adobe\Photoshop Elements 3.0\

      Mac installer will install to:
           Adobe Photoshop Elements 3: Previews: Effects:

If the tools are not installed, try the installation again.

After you try the installation again, look for the tools. If they
aren't there, you need to  locate them. Search for 'PowerTools'. If
they have installed, see C. If not, be sure you have  not changed the
folder name for the tools (for PC it should be Photoshop Elements
3.0; for  mac, Adobe Photoshop Elements 3). A PC-only problem can be
that Elements is installed on  something other than the C drive. [See
If Elements is Installed on something Other than the C  Drive below.]

D. Be sure you have Elements installed only once and that you are
starting the Elements  application from the folder where you
installed the tools.

E. Delete the Elements Rebuild the Adobe Photoshop Elements Settings
file. This will restore  default palette placement and tool settings,
and will delete your color settings -- so it  should be used as a
last resort. [See instructions for Rebuilding the Settings file
below.]

F. If you have completed A through D, and you see the files in the
right place but the tools  still do not appear in Elements, open and
save the PSD files associated with the tools,  saving each without
making any changes. use Save As... [See Resaving the Image Files
below.]

G. Reinstall Elements, and then reinstall the Hidden power tools from
the CD.

H. While it is highly unlikely that you will get this far without a
solution, you aren't done  yet. Contact Richard by sending an email
to: thebookdoc@.... Please use the Subject:  Installation Trouble
HPPE3

IF ELEMENTS IS INSTALLED TO SOMETHING OTHER THAN THE C DRIVE
This is a PC-only issue. You have two choices for fixing this:

      1) Install Elements to the C drive and
         reinstall the tools from the CD.

      2) Install the tools from the CD to the
         C drive temporarily and move the tools
         to where you have Elements installed.

If you chose the second option, in addition to installing and moving
the tool folders (tool  folders are named: PowerBonus,
PowerSeparations, PowerTools1, and PowerTools2), you will want  to
delete the Effects Cache folder. You can find the Cache folder in
the "Photoshop Elements  3.0/Previews/" folder. You may want to
rebuild the settings file as well.

REBUILDING THE SETTINGS FILE
To rebuild the Settings, hold down the
Command+Option+Shift/Ctrl+Alt+Shift keys (Mac/PC) on  the keyboard
when starting up Elements -- immediately after choosing Edit and
Enhance Photos  on the Welcome screen, if you are on a PC. Hold the
keys down until the prompt to delete the  Adobe Photoshop Elements
settings file appears, and click [YES]. The deleted file will be  re-
created automatically.

RESAVING IMAGE FILES
If you can see the installed tools in the right folder in Elements,
and you still don't see  the tools in the program, you might try
resaving the image files used to store display  information for the
tools. There are 4 image files, one for each Hidden Power tool:
PowerBonus.psd, PowerSeparations.psd, powertools1.psd, and
powertools2.psd. Just open  Elements, open the image files (one at a
time), make no changes to the file, and save using  Save As...

Once done saving the files, restart Elements.


-
5. Digital Camera Recommendation?
-

<<My sister asked for a camera recommendation as she knows I take
digital images all the  time. I am not sure what will be the best for
her in her price range (around $300). I do know  she isn't patient
with the focusing search, and that she'll have the camera for a
while.  She'll want something easy to use...>>

I recently recommended a consumer camera to a number of people
(including close relatives and  my boss), though I don't use it
myself. All have come back with rave reviews, about  ease-of-use,
features, and cost. The Kodak Easyshare DX7630 (See:
http://aps8.com/kodak.html). It is a 6MP camera, so has the capacity
to shoot what are really  35mm equivalents. The first digital I ever
used was a Kodak...though it was priced slightly  more than my car at
the time, and was targeted to a much different market. Kodak makes
some  pretty good products for digital photography. At under 500, you
can get many decent  cameras...but few will have a pixel count as
high as this Kodak (lots of pixels usually  equates to better
quality) and quick focusing. The camera will be viable for several
years at  least as far as pixel count is concerned.

Here is a review (not my own):
http://www.dcresource.com/reviews/kodak/dx7630-review/index.shtml

Some notes on the article: The ISO images they show in the review are
pretty deceptive. Many  digital cameras won't even let you take those
images at night. I am not quite sure what thet  reviewer was
thinking. The later comment about the 6MP being overkill is
irresponsible, and  shows a lack of understanding of photography in
general. 6MP has been a target resolution for  standard matrix
capture in my book, because it equates roughly to 35mm. I use a Sigma
SD9  myself (http://aps8.com/sigmasd10.html), which only has a 3.4MP
effective image, though the  capture is really 10.4MP. It is a
different technology for capture and would be overkill for  casual
shooters.

Conversion lenses make the Easyshare good enough for many advanced
purposes (I see you can  get a set of lenses on ebay for 79$), but
they are completely unnecessary. Nice lens, nice  exposure
times...The only downside seems to be a proprietary battery, and for
me, no RAW  mode. It is likely that a casual user won't care about
the latter. You'll want a 256MB card  for image storage -- which you
can get free or very cheaply if you shop around. I prefer  eCost for
memory card needs. You can often get what you need for just a few
dollars (after  rebate).

Keep in mind digital camera shopping is not a one-size-fits-all sort
of thing. You really  need to get out to the stores and hold the
darned cameras in your hand. The feel of my Sigma  would turn off a
lot of people who want a pocket camera. Those with big hands will
want a  bigger camera to provide some grip...those who don't want a
lot of bulk would get frustrated  lugging a camera bag instead of
having a sleek camera they can really slip in their pocket. I  like
the idea of the Easyshare DX7630 because it seems to ride the line,
having low cost and  good solid features. However, taking into
account your needs, you may find something better  for you.


------------------
Short Answers
------------------

-
1
-

>I have a good system that is working well for me now
>enhanced by your tools, but if I stick with Elements 2
>will you still be supporting it in future???

I expect to make enhancements for Elements until Adobe makes it
impossible. Steps they have  taken between releasing Elements 2 and
Elements 3 suggest they will not soon be ruining the  experience for
those who use my tools!


-
2
-

> In Photoshop, you can edit the selection using
> Transform without affecting the image, but can
> Photoshop Elements do it?

Sure. With the selection active, you can...

  1. Create a new layer, and call it Temp Transform.
  2. Change the opacity to 0%
  3. Fill with any color.
  4. Start the Transform function and distort to your heart's content.

You can Delete the layer when you are done.


-
3
-

> I recently purchased Scott Kelby's book on Elements.
> I'm wondering if your's will have a greater slant
> towards the Mac version as opposed to Scott's PC slant?

Scott and I have decidedly different approaches to image editing. He
is a tools-first kind of  guy and I am certainly for understanding
fundamentals and techniques-like how a digital image  goes together.
Scotts books will be lighter in theory, and will be more-or-less a
surface  approach to using the tools.

That said, my new book is all on editing...I don't even mention the
organizer as I do not  consider it important-at least not as far as
editing an image. I supply tools that ramp up  the power of elements,
allowing you to do thing people still say are only possible in
Photoshop. The book is decidedly 'advanced'. It is not a book that
you would pick up if your  intent is to render some neat effects
quickly, or if you don't have a serious interest in  photography and
getting the best results. You learn how to take an image apart and
put it  back together like in no other book. This gives you total
control over color and objects in  your image, and the tools give you
the power to accomplish your ends.


-
4
-

> How do I put "white frames" around pics......like the Ansel Adams
> pics? I've got Adobe Photoshop Elements 2.0

The simple way to do this is just change your background color swatch
to white and increase  the canvas size (on center) to, say 20
pixels...This will put a 10 pixel border around the  image. The
larger the picture, the broader the border should be. You either have
to be  working with a flattened image (Layer>Flatten Image), or you
can create a new layer below the  image to use as a background and
change that layer to a background (Layer>New>Background from  Layer).
It works either way.


-
5
-

> I'd like to get the Hidden Power book, but I recently bought PS
> Elements 3 for Mac OS X. Do you know if your hack will work with
> PS Elements 3?

Please, let's not refer to it as a 'hack'. Hacking would be changing
code in Adobe's program,  which is illegal. It is an enhancement,
plain and simple. I have updated the Hidden Power  book (and tools)
to work with Elements 3. If you get the Elements 3 book, it works
with both  Mac and PC.


-
6
-

> I am currently exploring an educational version of
> Elements 2, borrowed from a friend. Is this a downscaled
> version of the full elements 2?

I don't have that particular item at my disposal. However, if it is
like other educational  packages, it will likely be the full software
package missing the manual, along with other  offers and information.
This reduces the cost of distribution for the manufacturer.


-
7
-

> I would like to purchase Elements, but wasn't sure if
> I should save up for version 3 or go for one of the
> many version 2's now for sale on ebay.

The reason those Elements 2 packages are up for sale on ebay is
probably because the owners  moved to Elements 3 ;-) If you have a
serious digital camera or a scanner that can capture  more than 8-
bits, you might want to get Elements 3 just for the options offered
for working  with high-bit files and RAW imagesŃeven if you aren't
interested in those possibilities right  away.


-
8
-

> Do you intend to continue the Newsletter, and will it
> still serve the needs of those who (like me) don't
> intend to upgrade from PE2?

The newsletter will appear as needed...I will be shooting for once a
month, but expecting it  out every other. It will serve the needs of
those who ask questions. I can't answer what  isn't asked!

My goal with future tools is to make what people have the greatest
need for as well. So if I  get a lot of requests for a tool for
Elements 2, it is likely I'll do it.


-
9
-

> In your latest newsletter, you mention that Mend
> and Dynamic Image will work in PE 3. Having both,
> I wonder how to install them in PE 3. Is it the
> same as PE 2 installation?


As luck would have it, when I made those tools I was trying to
simplify the installation. As  it turns out, Adobe didn't change how
the Effects palette gets loaded. Installation for the  Dynamic Image
and Mend tools is actually exactly the same for Elements 1, 2 and 3 --
  and the  tools work unmodified in all three.


--
10
--

> I agree with you that PE 3 is worth it just for the RAW
> (and 16 bit processing). I shoot with a 5MP Olympus C5050Z,
> and I swear that the processed RAW images are a lot clearer,
> even when printed (Canon i960). Or maybe it's my imagination.

I don't remember if the Camera RAW plugin has a default for
sharpening, and this may be the  difference: you prefer the Adobe
settings to those used internally in the camera. the real  benefit to
RAW images and 16-bit is having more data to mine.


--
11
--

> Could you change my email address for the newsletter?

First, thanks for contacting me. I'm glad some people find the
newsletter valuable enough to  remain subscribed. As far as your
subscription to the newsletter, just re-subscribe with the  new
address. I believe you can still do that by sending an email from the
new address to:  hpe-subscribe@yahoogroups.com. You can unsubscribe
with the other address if you still have  use of it by sending an
email to: hpe-unsubscribe@yahoogroups.com. If you don't it will get
weeded out when I start getting rejected attempts to send the
newsletter.


--
12
--

> Using Adobe Photoshop Album 2 I made a number of slide
> shows with music and created pdf files. I recently got
> Adobe Photoshop Elements 3 and could not figure out how
> to add music to the pdf file for a slide show. I had no
> problem using the program to make a slide show with music
> and then make a wmv file. Am I missing something?

This is not the type of feature I experiment with very much. However,
it also doesn't sound  like something that would be in Elements. You
may want to get Premiere Elements. Photoshop  Elements and Premiere
Elements are available in a bundle, as well. See
http://aps8.com/premelements.html


--
13
--

> I really like Elements 2 and would like to upgrade for
> some of the new things you have, but I operate on windows
> 98SE. Will Hidden Power work? I have had problems with
> newer programs because they are not set up for 98.

As long as you are on an operating system supported by Elements, the
tools will work (as long  as you have the tool version that matches
your program version). That said, you can find the  System
requirements for Elements 2 and 3 on the Hidden Power website:
http://hiddenpowertools.com (this address will be updated for
hiddenelements.com very soon).


--
14
--

> Will someone please tell me about Hidden Power as I have never
> heard of it?

This newsletter sprang from the Hidden Power books (see:
http://aps8.com/hppe3.html). I am  the author of the books, and I use
this newsletter to answer questions and keep people  informed about
Elements and developments in Hidden Power.

The idea of Hidden Power and my intention was to take Elements and
ramp up the power so that  you could do just about everything you
could do with Photoshop. I found many treasures buried  in the
Elements interface; Elements is built over the top of the Photoshop
engine, and some  hidden features can be accessed using my tools. i
built a whole methodology around  that...which is the Hidden Power
book.

While people speak of 'plugins' in association with Hidden Power,
that isn't entirely correct  as I have not programmed plugins which
may be frought with bugs and complexities...I have  merely accessed
Adobe tested and released functionality in most cases that is lying
dormant  in the program.

Some other tools I have created (those that don't access hidden
features) are unique Hidden  Power tools that help you work with
images. These tools are mostly NOT available in  Photoshop. In fact,
these tools are born of actions I created while working in Photoshop
to  help my workflow. They run using Photoshop
functionality, but put together complex steps in a way that makes
them easy to use--and again  they are not really plugins. Actions are
a means of automating and scripting in Photoshop.

The complete listing of tools included with the new Hidden Power book
is listed here:
http://hiddenelements.com/hppe3tools.html


--
15
--

> I bought HE 2 and loved it. I read somewhere that tools
> from HE2 will not work in PSE3. I just bought PSE3 and
> wonder if I should bother to load the HE2 disk...which
> of them will work in PSE3?

The CD from the Hidden Power 2 CD will not work with Elements 3 due
to Adobe's changes in  Elements 3. As you are getting the new book,
your tools and program version will match, so  this doesn't matter.


--
16
--

> I can quickly tell which images come
> from my 20D and which came from other cameras
> that I have owned. In a sense I am thinking of
> Photoshop CS versus Elements 3.0 in the same way.
> Is this a viable comparison?

No, that really isn't a valid comparison. I can make corrections in
Elements or Photoshop  usually with nearly identical results. The
difference in your cameras resolution and ability  to capture
(lenses, exposure features, etc.) will force a sort of qualitative
difference.  Elements and Photoshop have essentially the same
processing engine and capacity to handle  images. CS will not perform
magic, and you'll find that just about everything you need to do  can
be done in Elements when it comes to image editing. You might just do
it a little  differently.

As one who is terminally frugal, you won't really need CS unless you
are doing volume CMYK  work, full 16-bit editing, web work, or are
recording your own actions.


--
17
--

> Where do I install the the disk that came with the book?
> How to I access the tools once I installed the files in
> my computer - of course I need to know how to install
> the darn files!!

Please take a look at the book and on the CD to find some basic
instruction for installing  the tools. Visit the website (or read #4
under Long Answers above) for more information about
troubleshooting.

The tools for Elements 3 are found on the Styles and Effects palette.
For Elements 2 and 1,  the tools are installed to the How-To and
Recipes palettes. Description of these locations  can be found in the
book, and there are color images of the palettes on the final page of
the  color section in each book.


--
18
--

> Where is the bloody password for the PhotoShop Elements 3
> Hidden Tools CD?

Please count in 23 pages from the front of the book...I asked the
publisher to insert the  page number, and they counted from the front
of the book--not using the actual page numbers.  Please note that it
is in a section about installing the tools in the book's introduction.


--
19
--

> When installing HPPE3, at no time was I asked what
> system I was running, or asked for the password given
> in the book. I could not find any trouble shooting
> guide on the disk.

Have you checked to see that you are successfully installed?
Troubleshooting information  should be in the readme...for whatever
reason that seems to have left it out. Sorry about  that. I'll have
the new web site up this week and the information will be there.
However,  while you seem to suggest a problem, it does seem that the
installer performed. As the  installer was initially built on a Mac
(that is what I work on about half the time), I'd like  to be sure
the parts are not installed before trying something else.

I know you searched, but please take a second look in two places: If
you go to the  application folder (applications: Adobe Photoshop
Elements 3: Previews: Effects: ) there  should be 4 new folders there
named Power[etc.]. If these are not there, that is indeed  strange --
unless you have not installed the Elements program to the default. If
they are  there, they should show up in the elements program. If you
look in the Styles and Effects  palette, choose Effects in the drop
menu at the top left, the power tools should appear in  the menu at
right. if they do not, that too is puzzling -- if the files were
successfully  installed. If the files are not there, we'll have to
figure out why they were not installed  -- thought the installer said
they were. If they are there and do not show in the program,  we'll
have to determine why they are not appearing. If the latter, few
things could be wrong:

1) you need to allow more time for Elements to rebuild the cache
before the tools will appear  (up to 5 minutes with the program and
Style and Effects palette viewed).

2) It is possible that you did not make the default installation for
the program and the  tools are installed elsewhere (not in the path I
suggest), though they should work because  they will seek out the
program folder.

3) If you did not use the default installation of the Elements
program and renamed the  folder, they may be installed to the wrong
place, or not at all--or to a folder that is  titled Adobe Photoshop
Elements 3 that does not contain the program.

4) If you have virus protection, it may have disallowed the
install...If so, you might try  turning it off and installing again.

About the password...I intended to put it in the installer, and had
some trouble with that  feature in the installer creation program. As
a deadline for the publication was looming, I  decided not to require
the password. The install should occur without it. However, the book
was already printed by that time, and there was no way to remove the
password from the text.


--
20
--

> I ordered Hidden power for Elements 2 from Amazon.com,
> which dutifully sent me, after two months' wait,  H.P.
> for Elements 3! I won't violate the book nor the CDrom
> to check whether HP3 contains anything useful to an Element
> 2 user. Is there any way to download the software relevant
> to E2 and keep the book? I don't intend to move to E3 as
> it would require, I have understood, moving to Windows XP
> first. Should I send the book back from France?
> I suppose the situation means HP for E 2 is out of print.

I can't speak for Amazon or why they would send what you didn't
order, but I am sure the  Elements 2 book is not out of print -- in
fact i suggested to my publisher that a lot of  people would likely
not upgrade to Elements 3. I would contact Amazon about
exchange/return.  The software for Elements 2 is available in the
book only, and I am not at liberty, by  contract, to distribute it
without permission from the publisher. I assume you mean that you
don't intend to move to Elements 3...it requires Win 2000.


--
21
--

> [after successfully installing]
> I really appreciate your time and patience with this
> problem especially when there is only one of you to
> deal with the hordes of dummies like me.

You can't possibly be a dummy, as a dummy would not have bought the
right book, and then  would say to me "how could you sell tools that
don't work?!?!"

You realize at least that there is some problem going on, and that I
wasn't trying to get  rich quick selling tools that don't work. That
would be career suicide.


--
22
--

> I am looking for a tool that removes glare. Specifically,
> I shoot a lot of stained glass panels (my wife is a stained
> glass artist), and it isn't always possible to get a glare
> free shot. I can email you an example if you need.

The Mend tool might be your best bet. It would be
difficult/impossible to automatically  distinguish glare from other
highlights in the image, so there is really no way to automate a
tool to do exclusively that. You'll have to learn techniques for
correction, though it may be  best to learn techniques for reducing
glare. You may need another type of off-camera lighting  so you can
get the shots you need.


--
23
--

> I was wondering if there is a way just to crop the pictures
> into a star instead of messing with individual layers?

You might do this with the Cookie cutter tool, but you will not get a
vector-edge sharpness.  To get a crisp edge, you have to add a
clipping path. While it doesn't change the appearance  of the image
as a rectangle in Photoshop, it does essentially re-shape the image
border. See  pages 248+ in the Hidden Power book. I can't help you do
that one without the tools.


--
24
--

> I am having trouble with display of
> some of the Elements tools, including
> Hidden Power. Any ideas?


It might be a good idea to refresh your Settings--which may have
somehow become corrupt. Shut  down Elements. Have fingers poised over
CTRL+ALT+Shift/Option+Command+Shift (PC/MAC), and  restart Elements,
then immediately press the keys and hold them down. You will be
presented  with a dialog to rebuild Settings...say [YES] by clicking
the appropriate button. To be sure  the changes take, shut down
Elements and restart. It may take a few moments for the program  to
rebuild everything. If you are on PC, you won't want to press the key
combination till you  choose Editor in the Welcome screen.


--
25
--

> I am an amateur using Elements for photo enhancement
> I do about 500 images a year. Given my usage, in your
> opinion, will PSE be the only program I'll need
> (given that I'm planning on using it well)

Most people buy Photoshop and don't even need it. Personally, I use
Elements at work. My more  considered opinion can be found in an
article I published here:

http://www.graphic-design.com/Photoshop/vs_elements.html

You should be able to figure from that if you REALLY need Photoshop.
Sometimes experts don't  even need it.


--
26
--

> In the Extracting Luminosity from color
> discussion on page 50, there is no layer
> called composite. In step 4, did you want
> the first layer called Luminosity to be
> called Composite instead?

Yes. This would agree with the Layers picture. Thanks for the typo
report...I'll add to the  web page.


--
27
--

> Where do I find the dodge and burn icons,
> I can't find them?


Press O on the keyboard, you will get a tool in the same group as
Dodge and Burn. Cycle  through this group using the shift key: Just
hold Shift and press O to cycle through the  tools in the group. It
is otherwise on the Elements toolbar.


--
28
--

> Just to confirm, your new book "Hidden Power
> of Photoshop Elemenets X" is meant to include
> tools for Elements 3, and I guess 1 and 2 also.


Well, the tools for "X" have PE3 specific tools. I believe most of
these tools will work in  Elements 1 and 2, but there are a few
changes in the functionality from earlier programs that  I had to
adjust for so certain tools may fail -- like snapshots. Those with
Elements 1 and 2  should probably get the Hidden Power of Elements 2
book, which is still on sale:  http://aps8.com/hppe.html


--
29
--

> There is no Quick Mask tool in the new book.
> Why'd you leave it out? I used it all the time.

I have a fairly versatile work-around for quick mask...it isn't the
same, no...

1) create a new layer at the top of the layer stack.
2) change the foreground color to red.
3) change the opacity of the layer to 50%
4) paint in the layer with whatever brush you'd like, use selection
and fill, etc...it will  look quite like a Quick Mask.
5) convert the layer content to a selection by pressing
shift+clicking on the layer in the  layers palette.

While this is not Quick Mask, it offers the same opportunities and
allows much flexibility.  I'll be making a tool for Quick Mask users
in the next month or so.


--
30
--

> I think I have a bad CD. Can you send me another?

While it would be very rare that you have a bad CD, you'll have to
contact the book  manufacturer, Sybex. I realize I am the author, but
I do not control the book content, nor am  I allowed to distribute
materials from it; as part of the contract with the publisher, I
forfeit those rights. Please see the sybex website here:
http://sybex.com . I believe the  dedicated form for product support
is here:

http://sybex.com/webuserfeedback.nsf/ProductSupport?OpenForm


--
31
--

> I have sent you several emails at rl@...
> and never got a response. You seem quick once I tracked
> you down on the forum. Why don't you answer the other
> email?

Regretfully (as I explain in the errata), my service changed
policies, and I was unable to  maintain my mailing accounts as they
were. I hav fixed the problem (finally) and the email  you send to
any published address should get to me. That is not a preferred
address. Use  thebookdoc@..., or rl@.... You are less likely
to have a typo in those.


--------
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, post your reviews and opinions on
Amazon.com:  http://www.amazon.com/gp/customer-reviews/write-a-
review.html/?asin=0782143857

--
You are totally right on with regard to the discussion about the
request (demand?) to make  your book available for free. Really, what
are people thinking?

--
I have been an enthusiastic amateur for longer than I care to
mention. Your book has been a  great insight into the working of
digital photographs and how they are put together to an old  hand of
working with film.

--
I purchased your Mend and Dynamic Image tools and want to thank you.
I use both in Elements  3. Even though Elements 3 already has the
Healing tool, I think Mend works better and offers  more control. As
for Dynamic Image, I can't thank you enough! My drab images are
popping off  the page and look tons better than before.

--
Your book has to have been the about the best value for money I've
ever been lucky enough to  come across! It has enhanced my enjoyment
of my hobby immeasurably. Thank you.

--
I also don't think you owe anyone an explanation about your product
or it's prices. I doubt  very seriously if Donald Trump explains
himself to anybody!

--
The Dynamic Image Tool works like a charm Richard. Reduces all those
laborious tasks to a  quick and easy to use form.

--
Its Great, Super. Smashing on your book The Hidden Power Of Photoshop
Elements 2!

--
Incidentally, although I have only just started reading the book I'm
already impressed with  the content. This is so much more helpful
than many other books, that appear to think  everyone wants to learn
how to make "cool" effects. Learning about colour theory and how
colour and tone interact is much more interesting for me and, I am
sure, will represent a  much more solid base of knowledge about
photography in the longer term. I'm not entirely sure  I understand
everything that I have read so far, but in a sense that makes it
more  satisfying.


  --------------------------------------------------------
  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 and The Hidden Power of Photoshop Elements 3

  http://hiddenelements.com
  http://hiddenpowertools.com

  Copyright (c) 2005 Richard Lynch
  ------------------------------

Three quick announcements before I get to putting out the Hidden
Power newsletter:

1. If you didn't know it yet, The Hidden Power of Photoshop Elements
3 has been released and is available at most book stores. This
contains 20% new material and 20% more tools, all updated for
Elements 3. You can get it online: http://aps8.com/hppe3.html

2. I have reached an agreement with Sybex about distributing the
Hidden Power tools for Elements 3 separately as an upgrade. You can
get a copy of the tools from the Sybex site for $19.99. Find them
here: http://www.sybex.com/sybexbooks.nsf/booklist/5028

3. The Hidden Power website has been updated for Elements 3. I
welcome your feedback before the site goes officially live at the
hiddenelements web address. Please visit the prototype at
http://hiddenpowertools.com

Feel free to send me comments at thebookdoc@...

Now on to that belated newsletter! Lots in store for this issue...

Richard Lynch

--------------------------
Hidden Power Monthly
November, Vol.12
--------------------------

The Newsletter for Elements Users

-----------------
IN THIS ISSUE
-----------------

THIS MONTH:

In this issue we look at the release of Elements 3 and how that
impacts Hidden Power users. Do you need Elements 3? What is RAW, and
why do you care? All that and some good information on managing color
too!


ELEMENTS 3 AND HIDDEN POWER


LONG ANSWERS (7)


SHORT ANSWERS (15)


-------------------------------
ELEMENTS 3 AND HIDDEN POWER
-------------------------------

My last newsletter warned that I had a busy summer ahead, and I
couldn't have been more on target. Since the opening of the Elements
beta back in May, I've been at work updating my Hidden Power book for
Elements 3 and finding a new way to implement the Hidden Power tools:
Adobe made changes that preclude the use of the tools I created for
Elements 2. I can announce that as of last week been successful in
both the issue of updating the book and in creating a new tool set
that will work with Elements 3. All of the tools have been adapted,
including Curves, Color Balance, CMYK, Channels, etc. Some were added
from the free tool sets, like Layer Masks, Trim, Fade, and more.

The updated book, The Hidden Power of Photoshop Elements 3
(http://www.aps8.com/hppe3.html), and a new tool set (included on the
CD) will be available with the new book when it is released in
December.

To be absolutely clear: Those who are upgrading to Elements 3 will
have to purchase the new book in order to continue to use the Hidden
Power tools. Tools from the Hidden Power of Photoshop Elements 2 will
not work with Elements 3. I may be making a tool set available from
the website for those who have already purchased the book and who
only want the tools. Please keep tuned to the website and this
newsletter for announcements. If you are interested in the toolset
only, please contact me via email.

Updates to the book The Hidden Power of Photoshop Elements 3 include
added information about bit-depth, information about working with 16-
bit images, importing files that use the RAW format, and working with
Healing and Spot Healing tools. Everything in the book was examined
with a fine-toothed comb, and adjustments were made to procedures and
techniques to make them somewhat more friendly. In the process, some
50 pages were added to the book--about 17% new material. Some
new 'impossible' things are discussed in the book, like how to change
an 8-bit image to 16-bit.

Please send questions as they arise! thebookdoc@...

There is one more little secret coming out, but I'll have to keep it
till next issue...


--------------------
LONG ANSWERS
--------------------

1. Should I Get Photoshop Elements 3?
2. Color Management Using a Profiling Device
3. Why Not Provide an Upgrade for Hidden Power Users?
4. Embedding sRGB Profiles
5. General Questions About Hidden Power tools
6. Can I Get These in Addition to Hidden Power?
7. Why Bother with RAW Capture?


-
1. Photoshop Elements 3
-

<<I already have Elements 2 and your book and tools. Is it worth
upgrading to Elements 3?>>

With Elements 3, users have very few reasons to move to Photoshop
CS...even fewer than with Elements 2 and my tools. While you still
don't have many of the features that Hidden Power enables, there are
a few additions that were not available for access with Hidden Power.
The most notable of these are RAW file support and 16-bit editing.
Just so you know if they are important to you, I'll explain.

RAW files are raw image data files as they are captured by the
camera. Before you see a TIF or JPG file, the camera has really done
pre-processing to convert the raw captured file data into an image.
These raw files are generally useless to those taking pictures unless
they have dedicated software that comes with the camera that can
decode the files--but now Elements can decode those files for you,
using a fairly friendly interface. The advantage is that you get to
step back in the process and take hold of the information in the
image BEFORE your camera automates processing of it. You can
potentially achieve better results.

RAW files also tie to 16-bit image editing. Some cameras actually
capture more bit depth per pixel than the 8-bits per channel you have
previously been able to work with in Elements. Images may be captured
by the camera in 12-bits, for example, and then those 12-bit images
would be converted to 8-bit TIFF or JPEG files. Once converted, that
captured information detail is lost. The loss may not be crucial, but
it can be a missed opportunity for improvement. For example, if you
shoot an image that is too dark, having more bits to capture detail
may help when you are trying to reclaim details from the shadows that
might otherwise have been lost in a conversion to 8-bit. 16-bit
import capability allows Elements to retain all the raw information
captured by your camera, rather than the compiled 8-bit version.

For the most part, RAW and 8-bit capabilities will matter only to
those who have digital cameras that can capture images with anything
greater than 8-bits that will save RAW file formats, or those with
scanners that have greater bit-depth capabilities.

I can safely say that 16-bit editing and RAW file support were the
two most frequent requests I got for new Hidden Power tools. Now,
both have been addressed by Adobe as standard features in Elements 3.
If you really need that functionality depends on your equipment, and
if you plan on using the capability. Other festures have been added
to Elements, but as far as I am concerned, these are monor in
comparison. The most interesting of these is the Healing tool (which
you have the ability to imitate with the Hidden Power Mend tool:
http://hiddenelements.com/Mend), and for PC users, the Organizer
(this is not available for Mac).

You can order Elements on Amazon:
PC: http://aps8.com/elements3.html
Mac: http://aps8.com/elements3mac.html


-
2. Color Management Using a Profiling Device
-

<<One area I continue to be a bit confused about is colour
management. However, I think I should be OK once I get a monitor
profiling device. Do you have a device you recommend?>>

You are not alone in confusion over color management. I have toyed
with the idea of dedicating a book just to that. It might not be a
terribly long book, but it would be something hopefully to clear up
the mire Adobe created.

If you are considering getting a profiling device, it is a good idea
if you are serious about results. You will likely get better results
with Elements and a profiling device than if you purchase Photoshop
CS instead of the device. And you will get better results, whether or
not you choose to embed profiles. The key thing that the profiling
device will do is make an accurate calibration of your monitor --
which is in turn used to preview your images. While you can calibrate
by eye, you will not be so accurate as a device which measures
directly from your screen. When you can trust what you see on screen,
you will make better corrections and get better results going to any
printer.

Keep in mind that RGB is not the same as CMYK and the two will never
be identical--no matter what program or profiling you use. This is
just inherent in the color models.

I do use a particular product, the Color Vision Spyder
(http://aps8.com/calibrate.html or just the Spyder
http://aps8.com/spyder.html). Using the product allows you to
first 'normalize' your monitor through adjustment of its color
controls, and then you calibrate using the Spyder device. I have used
this on several different setups, and am always amazed at how the
device will make two very dissimilar monitors behave very much alike.
I couldn't be more pleased with the results I get.


-
3. Why Not Provide an Upgrade for Hidden Power Users?
-

<< [In response to an email I sent to a user suggesting I might make
a tool set available from the website for a discount.] I thought that
you were an "advocate" for users of your product. Having just
purchased the Hidden Power 2 book, I shouldn't have to buy another if
I wanted to use your tools in Elements 3. I should have a means of
upgrading! I certainly will update to the new PE3 now that it is out.
Whether I get your material is another matter. It seems to me that
when I have bought software before, that a discount to upgrade has
been arranged for those who purchased close to the release date of a
new product. It may have been appropriate to stop selling the book a
few months ago, knowing that it would be rendered obsolete shortly.
Perhaps we can start a thread on your forum about this? Can I get a
refund from you?

I belong to a large group of digital photography enthusiasts. We
pushed them to buy your book and disks and your latest tool. I
realize you want to make money and not give away the store, however
sometimes listening to the customer and not squeezing them does
better for your product in this market and for the future success of
newer products. It would be very nice to get a patch and make it
usefull in Elements 3 gratis for this group>>


If the book is not the one you want, return it to the store you
bought it from. My site links to Amazon.com, so that would be where
you purchased it. I believe they have a fairly liberal return and
exchange policy.

  I am sorry you are not satisfied with my solution. While I see your
point, I don't know that expecting a free update is completely
feasible. First, you have to understand that development of new tools
for this version is not my choice. Adobe engineers the program...and
I enhance it. They charge for incremental versions because they
improve the program -- no matter how incrementally. I had to
completely re-engineer the tools for Elements 3. It isn't my idea.
Adobe changed the program and therefore the implementation. There
were really two alternatives...one: forget about it and not make the
tools and leave elements users looking to Photoshop CS, or Two: make
the tools and invest some time for Elements 3 users. I chose the
latter. I spent quite a few figuting out an alternative and going
through each and every action to make it function correctly with
Elements 3. It was not at all just flipping a switch. Second, you
have tools that work perfectly well in Elements 2...

I charge in order to make up for the time I invest -- just like you
might like to get paid for going to work, whatever it is that you do.
I am not trying to 'squeeze' people...If I were I would be charging a
lot more. I spent months of time in re-writing and development, and
the publisher pays me about $2 per book sold. While I have considered
selling a tool set from the hiddenelements.com site for those who
want the tools and not another book, I would have to charge a
reasonable price. I already get about $10 for single tools (Mend
[http://hiddenelements.com/Mend] and Dynamic Image
[http://hiddenelements.com/dynamic]); my suggested price of $20 would
be less than the cost of a new book ($27 if you bought through Amazon
[http://aps8.com/hppe3.html] ), less than the cost of the tools I
currently have for sale, and less than the cost of purchasing
Photoshop.

The discounts on upgrades that you may have received in the past are
not likely on books, but software. My product is a book and the
information that comes in it; the tools that come with it are just
helpers for the content of the book, and enhancements to the program.
When authors write books, they have almost no say about marketing,
distribution, etc. I wrote the book, and I do not sell it. I would
like to help, but refunding your purchase would cost me the price of
the new book, $40 -- or $27 if you bought through Amazon
(http://aps8.com/hppe3.html). I can't absorb that return cost
logically and still continue to write and be an Elements advocate.
While I might like to help, there are contracts and legalities
involved, most of the rights to which I sign over when I sign the
contract with the publisher.

Publishers do not take books off the shelf immediately when a new
version of a product is announced. Many people never upgrade software
version to version, and books sell long after one and even two
software versions later. It would be unfair to those seeking
information on Elements 2 to discontinue the book. The book is not
obsolete, it works with Elements 2, as advertised. The next version
of the book works with Elements 3--including completely re-vamped
tools, and added content over some 4 months of work. Just to say,
Adobe has been pushing an Elements upgrade to Photoshop CS from
Elements, knowing that they will be releasing a new product. They
know probably a year in advance when the product will come out: do
you expect them to announce it that far in advance? As a business
they have to do that or lose months of revenue. It is not an attempt
to deceive...it is just geting mileage out of the product already
created. If you were to make pots, and had a backlog of thousands of
them knowing you were going to come out with a new design, would you
destroy them all to keep people from buying them? the product I
created works for Elements 2, and if you own that, the tools and
techniques are valid.

I would love to have the time to just put in hours of my life toward
building tools that don't exist in order to give them away, as I do
enjoy it...but my wife wouldn't much like it nor be as
forgiving...and my children would be robbed of my time for nothing.
In the same way, I might just write my books and give them away.
Frankly, I consider it just a little unfair that you feel my
expertise and research is not worth the small investment for the
tools. If they are valuable to you, that inherently means they are
worth something, and what I ask is not a lot. I've asked for reader
support -- mere opinions -- so I can help users get more out of
Elements, and never really got what I expected. I might have acted on
many responses for free, just to enhance later versions of the book.
Sharing is a two-way street. What you propose is that I invest even
more time to find a means of giving tools away by qualifying
purchases. Managing this type of thing, if you are familiar, can take
quite a lot of time--how do I weed out the people who have made a
purchase since September from those who just want a freebee?

These same tools would cost hundreds more in Photoshop, and other
plugin manufacturers are making individual tools available for more
than the cost of my book! I am making them available for a few
dollars--about what you would pay for a good photographic filter. I'm
sorry, but I believe that is pretty reasonable. I spend many hours
working on my website, filling information out to use for my
newsletters, answering reader questions, replying to email...all of
which I do for free. just how much more do I have to give away? If I
give away everything I develop, I make nothing for my time...and what
impetous is there for developing more tools if i don't benefit in the
slightest from it?

I wish i could be more charitable...but I have to be practical. I
would be glad to know What do you think is fair for the time I
invest, or if you hold by the idea that i should just give my time
away. If you would like to start a thread on the forum, be my guest.
I am open to suggestions and discussion. In fact, I'd like to get
feedback from newsletter subscribers...

If there is something else you think I should do, I would be glad to
consider it.

[I would be glad for your feedback on this issue: thebookdoc@...]


-
4. Embedding sRGB Profiles
-

<<Do you know of any ways I can teach people to use Elements to get
their image looking good and then embed an sRGB profile so it's seen
accurately by others? Do you have any color management tips in your
Hidden Power book?>>


If the sRGB profile is necessary/desireable, it is best to start with
that profile (at least in Elements 3). If you work with No Color
Management, the files will get converted to other profiles when you
embed them. You can see this by opening an untagged file (this will
assumes a working profile) and then convert to sRGB, the colors
change (unless the working profile is the same as the target). In
fact, embedding a profile will most likely be a mistake in an image
that has no profile, as the image information will be converted.

To fix the problem, you have to do this little round-about:

1. Open the untagged image in Elements using No Color Management.
2. Save As and *embed the profile*.
3. Close the image
4. Change the color management to Full Color Management.
5. Open the image.
6. Select all and copy.
7. Open an image with sRGB profile.
8. Paste.

Full Color Management will do the right thing and convert the image
from the working profile to the sRGB of the image it is being pasted
to. That is, it will convert the image to the profile, rather than
just assigning it (which will usually be inaccurate).

My book does discuss some of using color management...I am hoping
discussions on the forum will take place concerning this as well.


-
5. General Questions About Hidden Power tools
-

<<a) Can your tools be used on Mac OSX (10.3.5)?>>


I work on Mac at home and have a PC...my tools will always be cross
platform, as long as Adobe continues to make products that are.


<<b) Do I have to buy the book, can I just buy the tools?>>


Well, using the tools is discussed in the book, so the tools without
instruction is not recommended...it would probably take weeks to
figure out what some of them do, and it is spelled out step-by-step
in the book. If you have a previous version of the book, instruction
there will help. I may be making a tool set available separately for
the release of Elements 3...it will NOT come with instructions.


<<c) Is there a downloadable version of the book?>>


No.


<<d) I am mainly interested in tone curve and quick mask.>>


I have considered selling the Curve tool separately...if that is all
people want, no need to spend $40. I should have that available some
time soon. If that is all you want, send a request
[thebookdoc@...] and I'll make it available...sooner. Quick mask
for Elements 2 is in the free tools: http://hiddenelements.com


<<e) I am in Japan.>>


Amazon ships everywhere, so you should be able to get my book. I sell
other Hidden Power tools for delivery by email. See the mend tool and
Dynamic image: http://hiddenelements.com/Mend
http://hiddenelements.com/dynamic


-
6. Can I Get These in Addition to Hidden Power?
-

<<I have read about Paul Shipley's Curves and Ling Nero's actions
tools, and of course Hidden Power. Do all of these work together? Do
they work at all? What tools should I get?>>

First: yes, the Hidden Power tools really work. About 20,000 readers
have used them. The new tools for Elements 3 have undergone rigorous
testing. Paul S. is making Curves available for Elements 2..I don't
know if he will for Elements 3. As for Ling's snap actions...Those
will currently only work in Elements 2. I do not believe there is an
update planned.

As for my tools, there are several different sets. The most complete
set for Elements 2 is currently had by buying the Hidden Power of
Photoshop Elements 2 (http://aps8.com/hppe.html). My tools for
Elements 3 are already done, and the book will be out in December
(http://aps8.com/hppe3.html). Unlike last time, I may be making the
tools available separately for those who have already purchased the
book. There is a free tool set on my site that has tools that are
different than the ones included with the book.
http://hiddenelements.com/freetools.html. Most of these tools have
been incorporated into the Hidden Power tool set for Elements 3. I
also sell a healing tool (http://hiddenelements.com/Mend) and a tool
I call dynamic image which improves just about any image
(http://hiddenelements.com/dynamic). These latter tools will work
with Elements 3 as well.  I am considering making a tool set
including curves available separate from the book. Send an email if
you are interested: thebookdoc@...

As far as snap actions...there is nothing that it can do for Elements
2 users that my tools can't. It is just an interface to run actions.
In fact, I showed the person who created that how to do it...thinking
they were going to help me out. They surprised me with a separate
release, and it has been impossible to explain, and causing many
people a lot of confusion. In short, snapactions will play actions in
Elements 2. So will me free tools. My sets come with added
functionality that you can't get in snapactions. That is because I
actually develop photographic methods...the creator of snapactions is
a programmer, not a professional image editor.

I will try to convert actions for framing and effects to Elements 3
over the coming months. Suggestions are welcome.


-
7. Why Bother with RAW Capture?
-

RAW files offer the shooter the opportunity to get the most out of
information captured by the camera, plain and simple. If your camera
shoots in 12-bit and produces an 8-bit JPEG, many calculations have
happened along the way to compile the image from the RAW data and
shrink down the file size. This can be read: compromised original
capture with a loss in ultimate quality. This loss may not be huge,
and in fact in some shots you may not notice it at all (in comparing
RAW and JPEG). The images you will not see a big difference in are
those that are properly exposed. However, the latitude that you have
in working over an image and coming up with what you need from the
RAW data is worth the extra processing time for those who are serious
about their images. That is, if you already know about exposure,
aperture, composition, and have some experience in digital image
processing, you might shoot RAW images to give yourself more to work
with in achieving the goals of your images in post-processing--and
perhaps to give yourself better data to store as the source of your
image captures in your archives.

In other words, just like a user might appreciate the speed of
automated processing when using Auto Levels or Auto Contrast, setting
your camera to store JPEG images might be a godsend in having the
process completed for you. However, if you don't only shoot statues
outside on an overcast day at noon or so...you may have more vision
as to what makes an interesting image. If you shoot scenes with a lot
of potential for manipulating shadow detail or highlights (low or
high-key images), you would certainly like the advantage you have in
manipulating the images from your RAW originals. If you shot a rock
concert, for example, the latitude you gain in manipulating the
highlights, shadows, and light color would certainly favor RAW files.
You would more likely be able to manipulate the image without causing
or enhancing damage that could be caused by over-working the image in
8-bit or by the JPEG compression.

Once your images are processed and you are ready to go to print, it
is true that you will be printing to an 8-bit color device (I don't
know any printers that claim to handle 16-bit images). This is a
current technological impass which may be changed in the future...16-
bit images haven't been around all that long in common practice.
However, whether this is a 'loss' at this point is questionable.
Technically you will be changing from trillions of colors to
millions, but there is question as to whether the result goes beyond
human perception. The real thing that you are trying to do with RAW
files is not to print them, it is to get the best darned image
information you can off your camera. One of the maxims for ending
with the best results is starting with the best image...not one that
you will "Photoshop" later. That means trying to capture what you
imagine you see in the viewfinder and in your imagination using the
equipment you have. If you are a creative shooter, your images will
potentially gain from using RAW...Not everyone needs it. Will you
lose a lot if you don't use RAW? I'd suggest it is the ability to
fine-tune images coming from the camera.



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

-
1
-

<<Will the hidden power of Photoshop Elements 2 book and CD work with
the newly announced Adobe Elements 3 or should I just stay with
Elements 2?>>

The tools from the Hidden Power of Photoshop Elements 2 book will not
work with Elements 3. Regretfully Adobe changed some things in the
program, and I was forced to change how the tools were implemented.
You should probably stay with Elements 2 IF you have no need for RAW
file import, 16-bit image editing, the Adobe Healing tool.

I may be releasing some tools separately from the book so users
wouldn't have to re-buy it if they only want the tools. I'm not sure
yet, though.


-
2
-

<< If you make an 8-bit image a 16-bit image, does it become more
resistant to banding/posterization in subsequent edits, or is it
still basically just an 8 bit image?>>

First, without techniques in the Hidden Power book, you cannot
convert 8-bit images to 16-bit.

Second, once you know how to make the change, the newly converted 16-
bit image is just a bigger 8-bit image till you make a change, then
the changes are calculated in the 16-bit environment. As far as the
value of that...just like desiring Photoshop CS, sometimes it is only
a psychological desire rather than a real need. You can't print a 16-
bit image on a CMYK printer. In my never-so-humble opinion, if you
are consistently making changes to your images that result in
banding, you are not working with images the right way--or you are
taking them improperly. Unless you are rescuing images or doing
retouching, most of 16-bit is beyond your needs.

16-bit conversion will most likely be useful for adjusting grayscale.


-
3
-

<<Really enjoy the book, but hoping the next edition has darker and
larger type!>>

I brought up this issue with the publisher and they have made a
change in the type face while giving me some 50 additional pages to
add. I made a lot of changes in an attempt to make the book easier to
read. I hope all that helps.


-
4
-

<<How do tools become Photoshop tools? If I use some tools and close
the layer before I complete changing it, an attempt to reopen the
layer produces an error message that it is a full Photoshop layer and
cannot be changed under Elements. How is that possible?>>

The Hidden Power tools access some things that are left over from
converting Photoshop into Elements...the fact is that Adobe uses the
same engine to run both programs. While Hidden Power allows you to
create an adjustment layer of certain types, it is built not to let
you edit them. These "Photoshop Only" features are the ones that
produce the error.

You can just replace these layers by creating new ones.


-
5
-

<<I like giving thanks or praise where it is deserved. I went to the
Amazon site back to where I ordered the book and did not see where I
could write a comment. I
guess you will have to lead me along even to do that!>>


If you don't mind doing it, i don't mind leading. I think I have made
this as easy as
possible. Just follow the link here:

http://www.amazon.com/gp/customer-reviews/write-a-review.html/ref=cm_rev_write_2\
/?asin=0782141781&store=books

Be sure you copy the whole link.

Positive feedback can influence other buyers, so your input may
actually help me keep at making more enhancements for Elements users.
I'm glad to have your feedback!


-
6
-

<<At this point I don't see any strong reason to upgrade to Elements
3 since I can't even use version 2 that well yet, but I expect I will
want to somewhere along the line. Is it worth it?>>

Well, I want to be consistent. Don't look for me to push you to PE3.
If you have stuff to explore and are happy with what you can
accomplish, then stay with PE2 a while! PE3 (and 4, 5, etc.) will
still be there whenever you decide you are ready.

The big advantages are in 16-bit editing and RAW file support --
which you don't have in PE2. If you don't know what that is....then
skip it for a while. These are high-end features, and if you are up
to working with them, you will probably know it. I worked in
Photoshop for 10 years or so without either...and I continue to learn
today. Chances are you have a lot to explore!


-
7
-

<<My guess is that it would be worthwhile to just upgrade to PSE 3.0
and get the 3.0 book in December. Would that be your recommendation??

The key things that Elements 3 offers is RAW file handling, 16-bit
editing, the healing tool and the Organizer (the last only if you are
on PC). That said, you can get away without any of these things. If
you are pushing toward quality and advanced use of Elements, it may
be worth your while to wait for the upgrade...it will help you gain
potential in image editing quality. If you are just thinking its best
to always have the newest, don't bother till you are sure you need
it. Some people can skip upgrades and be perfectly happy--that is a
decision based on what you need and your skill level.

For me, the RAW capability alone is worth the upgrade IF you have a
digital camera that has RAW file capabilities, because that is a $99
plugin (at least last time I looked). There are pros and cons to 16-
bit--and I can argue for or against. Ultimately, for the best quality
and for the future, it is a good idea. I have a healing option for
PE2 users (not as fast, but as good--or better because of possible
adjustments).

It isn't one or two tools that will make the difference. It is web
work, working consistently in CMYK, and needing broad 16-bit support
that really make the difference now. Elements is a pretty powerful
package. In the end, it is a decision you need to make, but my
recommendation is to make it on NEED rather than WANT.


-
8
-

<<I got a security error downloading something from your website.
With all the problems related to security, spam, viruses, etc. this
is NOT a good thing. I cancelled the download but I still feel
nervous about it. Now I wonder what might happen if I attempt ANY
download from your web site.>>

The error you got was likely related to th fact that the installer
was trying to write files to your drive. Your virus protection caught
that. It actually needs to be disabled before you install.

There is nothing wrong with providing these downloads and nothing on
my site that contains viruses. The RTF file that you were downloading
is completely harmless. I believe the link should clearly
state "click here to download more detailed instructions". I have
been doing web work since 1995. Downloading files is rarely harmful,
and usually those harmful files will come from suspect sites. I would
have very little to gain by making a virus available to people...

If you want to know what is being downloaded before you click, keep
the Status Bar open on your browser, it will display the links.


-
9
-

<<would it be a fair assessment that pp 132-3 is a manual version of
the channel mixer? Or is that an over-simplification?>>

A slight oversimplification. You have MANY more options to combine
elements if you know how to do it the manual way as I explain in the
book. The Channel Mixer interface is just a convenience, but it may
actually limit the true potential of channel mixing.


-
10
-

<<Performing the RGB sep. with preview yeilds a composite as well as
the individual channels. What is the purpose of the composite? Is it
anything to do with the black Screen mode layer we should place below
the channel we want to influence??>>

As it says in the book, the composite acts like a screen for the
components to project against. Try turning off the composite. the
results show the components projecting against the background and
that should lighten the result.


-
11
-

<<I thought you were yelling at me>>

One thing I regret is that I communicate from a distance. My problem
is I try and get to the point because I answer a LOT of mail.
Sometimes a response may sound curt--it is completely
unintentional...I'm very rarely even mildly upset. I'm glad to have
your questions, and hope my answers make sense.


-
12
-

<<Elements 3 has new resizing types. Are these dramatically different
than those in Elements 2?>>

As far as the additional bicubic modes for the resizing modes...these
are only dealing with levels of sharpening after the application of
resizing. You can mimic them using resize (bicubic) and applying an
Unsharp Mask.


-
13
-

<<I had read somewhere that Elements cannot handle profiles so I just
accepted this as true and devised my work-around to deal with the
perceived limitation. There is no way to get around the inherent
limitation imposed by Elements having to do with printing profiles.
There is no way to assign a profile for printing.>>

I am not sure that there is a limitation. If you click the "show more
options" box on the print dialog when you go to print, you can select
a printer profile at the time of printing so long as you have it
installed.

That Elements is limited is something that has been propogated on the
internet. I was victim of thinking that way myself till I started
really looking at the program. When I found curves and layer masks
and a slew of other things--all of which people still claim aren't in
there--I realized that the program was a lot more powerful. On a
forum the other day someone knew about my tools and STILL claimed
Elements didn't have curves, while admitting my tools opened access
to them. People WANT to believe Elements isn't as powerful as it
really is...I can't explain that. I can say it is all most users will
ever need.


-
14
-

<<I don't have the full version of Photoshop yet (don't laugh - I'm
new, learning and on a limited budget :-) but have been using
Elements and really love what I'm able to do in it. If I shoot in raw
will elements be able to open it?>>

Why laugh at Elements? The program runs over the same engine as
Photoshop with pretty much all of the power that most users will ever
need. Do you process CMYK images? Do you do a lot of web site
development (not galleries)? Do you need to write your own actions
and scripts for image processing? If not, there may be a good chance
you won't ever need more than Elements has. Elements has gotten a bum
wrap as an inferior program. Elements 3 will have RAW and 16-bit
processing. You can add RAW processing to Elements 2 with the RAW
plugin (I believe it is $99). Even before Elements could handle RAW
and 16-bit, as a Photoshop user of 10 years (at the time) I switched
over at my regular job to Elements so I could budget for an equipment
upgrade instead...It has worked out very well. I'd never laugh at
Elements...and those who would just don't know what it can do.


-
15
-

<<I just clicked on your link and saw your elements book. WOW... can
you really work in channels in elements? That's something I've been
wanting to do but didn't think I could. Can you work in channels in a
similar way as in the full version?

Yes, you can. I show how to split out the channels step-by-step, and
provide a tool that you click to perform the steps for you. Once
separated, you can adjust each channel separately...

Just understanding that process will give you tons of understanding
about digital that Photoshop users never really have...even many
pros.

New book out in about December! More tools coming to me site.

Stay tuned.



--------------------------------------------------------
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 and The Hidden Power of Photoshop Elements 3

http://hiddenelements.com

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

The link in the newsletter to the Dynamic Image tool was incorrect.
Please use the following link:

http://hiddenelements.com/dynamic

The package comes with Hidden Power Dynamic Image and Hidden Power
Basic Color Correction. These tools lead you step by step to better
images in a matter of minutes, using proven techniques. You get both
for $12. The page shows what the tool can do with a few sample
images. A full tutorial will appear shortly.

--------------------------
Hidden Power Monthly
May 31, Vol.11
--------------------------

The Newsletter for Elements Users

-----------------
IN THIS ISSUE
-----------------

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@...


--------------------
LONG ANSWERS
--------------------

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


-
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.


-
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.


-
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 itĹ0â9˘„Ĺ0Ń7take 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.>>


-
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
------------------------------

--------------------------
Hidden Power Monthly
March 26, Vol.10
--------------------------

The Newsletter for Elements Users


-----------------
IN THIS ISSUE
-----------------

THE MONTH IN HIDDEN POWER LONG ANSWERS (4)

More age-old questions get answered, but with a somewhat new twist. Learn how
resizing works, what Quick Mask is great for, and how customized effects can be
achieved.

1. Is Elements better than Photoshop?
2. Using Quick Mask
3. Customizing Effects
4. How does resizing work?

SHORT ANSWERS (16)

These short answers are all over the map, from questions about the book and
tools to getting serious about image editing. One thing they have in common: the
answers are short.

MEND TOOL CORNER (11)

Questions and answers about the Mend tool, installation and function.


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

The Mend tool has surprised both me and users. I was surprised at the inital
interest in the tool, and users seem generally surprised that it works as well
as it does! If you haven't gotten the Mend tool yet, the general consensus of
those that I have heard from is that it is worth the money and then some.

Get more information on the Mend tool for Elements here:
http://hiddenelements.com/Mend

If you are a Mend tool user and you'd like to contribute a quote or other
information to appear in the next newsletter and on the Hidden Power website,
please contact me (thebookdoc@...). If you like the Mend tool, and want to
see more additions to Elements, let people know about the tool! Successful
distribution will allow me to spend more time developing even more stuff. If you
haven't gotten Mend, get it now...

http://hiddenelements.com/Mend

In other news, two more tools will be released shortly. One is a type tool which
adds in controls that you just don't have in Elements now: tracking (the space
between letters) and leading (the space between rows of type in a paragraph).
There is more to it than that, but the end result is, you will finally have much
better ability to control type in Elements layouts!

The second tool is one that may be more exciting to a broader range of users:
Auto-Adjust. The tool uses some good processing sense to make adjustments to
drab images, punching up the contrast while making sure not to lose highlight
and shadow details. It isn't anything like a levels or contrast auto-adjust...it
is smarter and can really help blah images. This one is ready to go, but I want
to get up a good tutorial before I roll it out to users.

I am hoping for a release of both of these within the next month.

If you have any suggestions, feel free to forward: rl@...


--------------------------
LINKS
--------------------------

The Hidden Power website: http://hiddenelements.com

The Hidden Power forum at RetouchPro.com: http://www.retouchpro.com/forums/
forumdisplay.php?s=&daysprune=&forumid=142

The Hidden Power newsletter archive: http://groups.yahoo.com/group/hpe

Free Hidden Power Tools: http://hiddenelements.com/freetools.html

Or from Adobe: Mac:
http://share.studio.adobe.com/axAssetDetailSubmit.asp?aID=7531 PC:
http://share.studio.adobe.com/axAssetDetailSubmit.asp?aID=7516

Get the Hidden Power book: http://aps8.com/hppe.html

Buy Elements: http://aps8.com/elements.com

Get the new Mend tool for Elements: http://aps8.com/mend.html


--------------------------
LONG ANSWERS
--------------------------
1. Is Elements better than Photoshop?
2. Using Quick Mask
3. Customizing Effects
4. How does resizing work?


-
1. Is Elements better than Photoshop?
-
> I want to be able to make elements that I can't do
> in DIP 9. I use DIP 9 for all my scrapbook pages,
> but know I can do things in PS7 or PSE I can't do
> in DIP 9. What is your opinion based on the fact
> I do have access to PS7, should I struggle learning
> it or go the easier route of PSE???

I have to be honest, I am not really sure what DIP 9 is.

People make a bigger deal out of the difference between Photoshop and Elements
than there really needs to be. I don't know that I consider one program easier
than the other as they are different variations on a theme. One has more tools
and different ways to do things, and the other is a bit stripped down so there
are potentially fewer things to get in the way. If the latter is attractive,
stick with Elements. If you are a professional with sophisticated needs,
Photoshop may be something you should consider.

If you already have PS7, I would consider sticking with that rather than moving
to Elements -- if you will be doing things with four-color printing, spot color,
web design (Image Ready), and writing your own actions (though you can write
them and run them in Elements). Either program can probably do what you need,
and I am not entirely sold on one being easier than the other...Elements may
actually require a better understanding of manipulation to use it in advanced
arenas and with tough projects. Either will require that you develop your skills
and understanding over time.


-
2. Using Quick Mask
-
> After installing the tools and found the quick mask, but
> was unable to actually use it. I suspect it is because I
> just don't understand how. I wish there were some better,
> or expanded, tutorials for the Quick Mask tool (from the
> free download) and some of the others as well.

Time has been a factor in supporting the free tools. The idea is, I have lots to
do, and when I have to make a decision as to how to use my time, the thing that
gets left behind are the freebees. I regret that, actually, as they are usually
a lot of fun! However, I don't always have the time to commit...and regretfully,
there are bills to pay.

Be that as it is...Quick Mask was included with Hidden Power Actions III. You
can get that by downloading the free package from the Hidden Power website.

Using Quick Mask, pretty much goes like this: 1. Make a selection. 2. Click To
Rubylith (on the Welcome menu ... using HPAIII).

Step 2 converts the selection created in step 1 to a quick mask. The selected
area will be transparent and the unselected area will be ruby (50% transparent
red, by default). You can make changes to the mask by painting with white to
clear areas or painting with black to add back ruby.

To convert back to a selection: 1. click To Selection (on the Welcome menu ...
using HPAIII).

This converts the rubylith back to a selection based on any changes you may have
made.

The Quick Mask tool is good for seeing the softness in your selections and lets
you use pixel editing tools to adjust your selections. For example, if you make
a hard selection of an area using a standard tool, the selection line on screen
shows what the selection masks. If you make a feathered selection, the selection
line only shows where 50% or more of the image is selected. Switching to Quick
Mask can give you a better visual idea of what is being masked, and by how much.


-
3. Customizing Effects
-
> The Effect settings in Elements are pretty limited. Is there
> any way I can expand these functions? I am especially
> interested in applying glows.

Effects were actually included with Hidden Power Actions III. For these I
customized the way you can apply Effects and the result doesn't have to be
limited by the measley settings you get in Elements. Sometimes it is just better
to create your own effects.

In this case it is actually pretty easy -- if you already have the object you
want to apply the glow to isolated. If not, try this:

1. isolate the image area you want to apply the glow to on its own layer. E.G.,
make a selection of the area of the image you want to apply the glow to, and
copy/paste (the selection may take some time, but also might be unnecessary if
you already have the area on its own layer. Copy paste will create a new layer
with the area you've selected).

2. Activate the layer you want to apply the glow to. (It will already be
activated if you have used the copy/paste method.)

3. Create a new layer. This will make a new, blank layer above the current
layer.

4. Group the blank layer with previous (press cmd/CTRL + G).

5. make a selection the shape of the layer that the glow will be applied to
(press Cmd/CTRL + click the mouse). You'll use this selection to guide the
Stroke in the next step.

6. Stroke the selection using Edit > Stroke. You'll be able to change color,
stroke width, color mode and location/orienation to the selection marquee. Use
Center to cover the edge best. The stroke will be drawn in the empty layer
created in step 3.

7. Deselect and apply a Gaussian Blur to the stroke using about half the
diameter of the stroke size. You can use more, less or none at all if you'd
like, but half will give you a feathered blur for the glow.

You can now change the transparency, mode, color and even apply other effects on
the inner glow -- as well as change the positioning -- to get the effects you
really want without depending on the presets.

If anyone were interested I might be coaxed into creating a set of actions that
would allow users to control their own effects without having to rely on the
presets.


-
4. How does resizing work?
-
> What does PSE do to get from 3200 to 500 pixels?
> Are pixels combined, eliminated, shrunk?

Elements will interpolate your information based on the interpolation method you
select when downsizing your image. Usually you will use Bicubic interpolation,
which downsizes and "sharpens" at the same time.

Interpolation affects how the choice is made between merging pixels. Pixels are
a standard unit within the image (pixel = picture element), so they are not
shrunk. In a sense they can either be combined (bicubic and bilinear
interpolation do averaging between pixels to determine new values) and/or
eliminated (Nearest Neighbor chooses from the best representation of pixels
currently in the image without averaging); in going from a larger image to a
smaller one, in some sense image information has to be removed.

Sizing down should not have as great a visible effect on the final image as
sizing up would. While sizing down is common (repurposing for less demanding
output) sizing up should be a relative rarity (when you size up, information is
added to the image -- representing the application flat-out guessing at what
should be there...). In other words, while both interpolate and 'guess', you see
less of the image as it gets smaller--and what is dismissed by the application
will weigh less on the result. Sizing up is like using a magnifying glass to
zoom in on the flaws in the process.


---------------
Short Answers
---------------


-
1
-
> I am having an installation problem on Mac.
> Your tool install from the CD hangs with the spinning
> ball, whether I run it from the flash screen or the
> fscommand folder.

What you are suggesting is a 'hang' is more likely the installer looking for a
place to install. Please try this:

1. Disconnect all peripherals (this INCLUDES your internet connection).
2. Restart with extensions disabled.
3. Create a folder on the desktop called Adobe Photoshop Elements 2.
4. Run the installer.

What this will do is make sure the installer is not searching external equipment
and the internet for a place to install. It will also create at least one place
to install to (the desktop folder). You SHOULD be offered a choice during the
installation. If not, check the name of the program folder. If so, Please choose
the ACTUAL program folder and complete the installation.

If you still have trouble, please tell me what happens.

There has not been ONE SINGLE INSTANCE where a user failed to be able to install
the tools. We'll get them in.


-
2
-
> I am trying to get my printing back under control (Epson 1280).
> I had it working and then bought a new system, and
> it doesn't work anymore -- and I forgot what I did!
> 1) my print out of CMYK.pdf is a good bit too
> saturated, even tho' both grey scales are fine.
> 2) blacks tend to block up and get blotchy with
> hints of blue or green.
> I admit to going against your recommendation and buying paper
> that was on sale...

It is clear just from this that something is wresting control from your
printout. You need to get into the printer settings and figure out how to pry it
back. It has been a while since I used a 1280, so I don't know the settings
off-hand. You'll have to go in and look around a bit. the book makes suggestions
around page 217 (is this hidden power or special edition using?). You may have
to shoot a couple sheets to find the problem.

Note that the book specifically suggests NOT buying paper on sale. If you switch
papers and brands, you will get different coatings, absorption rates, and
results. My goal in printing is to keep the variables to a minimum so I always
know what I will get. Here, you have changed several variables, which makes
locating the problem all that much more difficult. You'll have to run through
the whole process to figure it out and get back on track.


-
3
-
> I have PSE v1 that came with my scanner.
> Will the tools in HPE work for me with
> version 1, or will I have to buy version 2
> to use the tools?

My Hidden Power tools were developed for Elements 1. They had to be updated to
work on Elements 2, and actually install differently. The book and CD include
installers for both Elements 1 and Elements 2 for Mac and PC.


-
4
-
> I am an Elements 2 user. Is there a Healing Brush
> (band-aid icon) tool available for Photoshop Elements
> Version 2? That is the one item I would like to see
> in Elements. Otherwise I don't have a need for Photoshop
> (at my given talent level!!!). I heard somewhere this
> is available. Is it easy to install?

You caught me just at the right time! In February I released what I call the
Mend tool. This tool does essentially what the Healing tool does in Photoshop.
You can get it for just $10 if you order online, and it works in Elements 2 (I
would assume it works in Elements 1 as well, but I haven't tested it there).

To find out more and place your order, visit: http://hiddenelements.com/Mend

Installation requires unzipping a file and placing the resulting files in the
Elements Effects folder.


-
5
-
> I've spent 2 days searching forums and trying to
> figure out how to use the tools on my own. I can't
> find this information anywhere. Surely, somewhere
> there is basic information on how your tools work.
> ie. quick mask, selective color, and the other
> tools that appear on the help menu. Please help me.
> I really want to learn how to use the masks especially.

Feel free to ask questions about how to use the free tools in the user forum on
retouchpro.com
(http://www.retouchpro.com/forums/forumdisplay.php?s=&daysprune=&forumid=142). I
did not provide a lot of documentation (not really more than a description), as
I added these tools by request of readers. If I had thought they were really
more valuable than what I put in the book, I'd have included them there. My
point: the tools in the book cover these situations, and pretty much
consistently with better versatility. The main thing the free tools set out to
accomplish was to provide an interface for using Photoshop actions. I documented
that in several readme files included with the installation.

I would much rather approach image problems per the image, rather than tool
first. If you have any examples of things you can't seem to correct, I'd be glad
to look at those and work something out! However, if you want information about
a specific tool, ask about it...chances are I'll try to give an answer.


-
6
-
> I had firm impression when reading the
> specifications of Hidden Power Tools II
> that the set includes one called Non-Printing
> Annotations.

Well, it was supposed to! Annotations was announced as being part of the tool
set as I almost released it, but then my testers had trouble with the tool. I
couldn't really figure out what combination of operating system and versions was
throwing off the function, so I decided not to keep it in...then forgot to
remove some part of it, possibly from the release notes (?). It is something I
should try again, but right now the only method of working with annotations that
I found was so cumbersome that it would be something I would not want to
support. I get so many "how do I unzip a zip file" questions (and continue to
get them though I hand out instructions in the readme) that I can't see putting
out a truly complicated, multi-step tool. Feel free to prod, it will help me
remember to try. Just because I haven't found the solution yet doesn't mean it
isn't there.


-
7
-
> Thank you for the HPE Jan. newsletter. For some
> reason your email newsletter came through with
> strange "=" signs embedded in the email, which
> made it very difficult to read.

You can get the newsletter in text format from the website:
http://hiddenelements.com/newsletter.html

Regretfully, the number of email clients and the way email is handled can
sometimes cause incompatibilities. This should be a simple thing, but never
seems to end up that way. Hopefully I provide enough alternatives so you can
read the newsletter one way, or another.


-
8
-
> Any chance I'll be able to get a pen tool for
> Elements to help me make selections?

Having a Pen tool is unlikely for Elements 2, and I am guessing it will not be
included in future Elements upgrades. Hidden Power leverages functionality
already in Elements, it doesn't really create new features. This way, what you
use is Adobe tested.

You can convert to Paths from selections using the tools provided with Hidden
Power, and this will automatically limit the number of nodes depending on the
settings you choose. Effectively you can edit paths by switching to selections
from paths and re-creating those paths. You take a shape, convert to a
selection, alter the selection and convert back to a path. In this way, any
shape you can make by selections you can convert to a path.


-
9
-
> Does your program give support for printer, camera, and scanner
> profiles? Can you specify cmyk conversion options and rendering
> intent?

You can completely customize black generation and separation weighting for CMYK.
I use an example of a simple separation and generate black based on darkness and
lack of saturation. You can get more or less complex. Profiles don't come into
play.


--
10
--
> Do all PS actions work in Elements with your addins, or only a subset?

All Photoshop actions can be made to work -- at least in essence. These may have
to be edited. You can edit actions using a PS6 demo. Look on Jumbo.com and other
program download sites. Many actions work with just a name change. I am
attempting to get more people to write actions and convert them for Elements,
but few people have joined in with my enthusiasm. If you know anyone who is
enthusiastic, I'd like to talk to them!


--
11
--
> Any way we can get a tool similar to the nozel/hose
> sprayer feature in painter?

I am sure this can be simulated...However, I'd need a good example of use. I've
not found a real use for this type of thing -- that is not to say anyone else
might not. It is, however, more difficult to solve those problems that I don't
use as a matter of course. Have an example?


--
12
--
> Can you have partially selected areas in a mask? In clipping groups > it is an
all or nothing effect. Fades and masking are much easier > with partially
selected areas of a layer.

Yes, you can have partial masks. I disagree that clipping is all or nothing in
that a partially opaque base to a clipping group will partially mask an area.


--
13
--
> I understand 16 bit editing vs 8 bit is somewhat controvercial, but
> my own tests show some benefit, especially with gradients and
> extensive post processing. The benefits may be subtle, but they are
> there. FWIW, PS has much better gradients than Photopaint (better
> addition of noise)

You can't output at 16 bit. If you are finding better results with 16 bit, it is
probably partially due to handling during editing. The end point is: if you can
get a result using 16 bit when printing to 8 bit technology, those same results
are technically possible with 8 bit editing. CMYK, no matter how you process
your images, always has the same number of color combinations.

But, if you insist on 16 bit editing and it is a sticking point, you won't be
getting it right now in Elements (I am not convinced that it is impossible.)


--
14
--
> Selection is my biggest gripe with Elements. With PS (and Knockout),
> there is just no comparison. There are far more ways of selecting,
> and these can be combined in so many ways.

If you learn to use what Elements has, there really is very little difference
along this line. I believe that the saturation masking and Blend Mask tools I
provide in Hidden Power will do more than any standard Photoshop tool in tone or
color based selection with greater ease. In short, the tools are there in
Elements, you may need to use them differently. I would be glad to see an
example of what you think Elements can't do.


--
15
--
> I think advance blending options were left out of Elements layers.
> This is useful if you can't to copy into one of the channels
> associated with your mode (like R, G, or B for an RGB image)

They also say CMYK was left out of Elements :-) . You can separate anything you
need to as long as you know the theory -- or if you have the tools I created to
help you implement that theory.


--
16
--
> Is there a History brush in Elements? Not only
> can be set to any mode in PS, but set to snapshot
> versus multiple previous states.

Using Hidden Power, you have a history snapshot that can be taken and stored in
a layer. You can apply it in modes, modify it, duplicate it, mask it, unmask,
apply filters...really it is MORE versatile than the static snapshot you get in
Photoshop. You can apply it with and brush or brush setting. This is available
with the book on the CD.


-----------------
MEND TOOL CORNER
-----------------

-
1
-
> Can I buy the Mend tool without using PayPal?

I added a payment option for purchase through the mail using a check (US funds).
I still deliver the tool as an email attachment, but this allows you to pay by
check or money-order without having a PayPal account. I still think Paypal is
the best option, and you really get a 33% discount by purchasing that way. It is
far more convenient, and WAY quicker.

Both options are explained here:

http://hiddenelements.com/Mend


-
2
-
> How well does the Mend tool work?

Many have asked for more details about how Hidden Power Mend works, and are
curious about its healing power. In case you wanted to see a bit more, I posted
a tutorial, demo and explanation here:

http://hiddenelements.com/Mend

Let me know if you have questions or need more information.


-
3
-
> When I click on the 'Patron' button I get an error

Though I tested this, some people are having trouble. Don't mind it. The Patron
portion of the tool is an information file which I'd hoped you could use to
check your registration info. At the same time, it really doesn't matter to the
working of the tool. I've only heard isolated complaints, and I assume it has to
do with Elements not handling missing system fonts. In other words, a bug in
Elements.


-
4
-
> When I try to install the tools, I put the file in the
> right folder, but they don't appear in Elements... > any idea what the problem
can be?

If you mean that you are just putting the ZIP file into the Effects folder, then
you are missing a step. You need to download the ZIP file (save it from your
email to your hard disk) and use a utility to decompress the file. I don't know
how your email client works, but the zip file might already be on your system.
If you have a look around for it using your computer's Search feature, you may
find it lurking in some obscure folder. Once you unzip the file, have a look at
the instructions in the readme. In case you have trouble with that, I have
posted the entire readme file here:

http://www.hiddenelements.com/Mend/readme.html


-
5
-
> About unzipping...I am using Windows XP, which has a
> built-in unzip feature. Do you know if the XP unzip
> feature works for the Mend tool?

Try it. If it doesn't work the first time, you can try dropping the Mend folder
on the utility a second time. The problem with unzipping is less that something
does it wrong (in ruining it) than that it stops before all levels of unzipping
are complete. Worse comes to worse, just take the folder and drop it on another
extraction utility. Chances are it will take care of the files which are
probably just not fully expanded.


-
6
-
> You instruct deleting the Cache in step 3 of the
> install instructions. Do I gather your instruction
> intends removing all aspects of the Previews Cache
> from PSE2 prior to installing your Mend tool? If so,
> I assume the removal of the Previews Cache is of
> no real consequence to PSE2's performance?

I'd never tell you to do anything that would harm your program...my goal is to
do the opposite. The only thing that will be noticeable is that the cache will
rebuild when the program starts up again. This may take a minute or two. Once
rebuilt, you have actually just refreshed the cache...nothing bad about that.


-
7
-
> In Step 4 of the install instructions you say to
> rebuild preferences. Do I gather correctly from your
> instructions that this will be a "wizard like"
> process which is basically self evident in execution?

Rebuilding the preferences is automated. All you do is hold down the suggested
keys when restarting, and click [Yes] when prompted to rebuild. The program will
delete the preferences and rebuild them, requiring no input on your part. The
upshot will be that palettes and preferences will return to default positions.
You may need to change color management and other preference settings.


-
8
-
> Just tried the Mend tool once and it seems a bit
> cumbersome(a lot of steps), but as I say that
> was only one quick time.

  Well, just to let you know what is going on behind the scenes: in order to get
the right results, some 80 or more steps were necessary. These steps do some
pretty sophisticated checking between the sample and the target to determine
what the best result will be. Simplifying the tool further would be, in my
estimation, dumbing it down. I wanted to get the best result for users.

Elements executes all those steps with input from the user at 5-6 different
points. Elements is not built for scripting, or I'd have been able to build a
much neater result (e.g, completely automated). I am guessing that for $10 it is
a better choice than spending $600 to upgrade and get something a little faster
and not any better in Photoshop.

I think you'll see with a little use that the tool will make short work of
corrections by helping you fit in changes without a lot of alteration --
especially in areas that may be difficult to clone to -- like knees, cheeks, or
other body areas where there are a lot of curves. I am not sure what you tested
the tool on, but try a few different images...I think you'll be surprised what
it can do given the opportunity.


-
9
-
> When I use the Mend tool, the previews sometimes
> look worse before I get to the end result (which
> always looks better). How do I know what to do?

The nature of this Mend correction is that there has to be a comparison between
the original area and the clone. The things you see on screen don't really
matter as the correction is occurring -- as you say, it improves by the end,
which is the point. The instructions on screen are meant to give you some sense
of what to do when using the Mend tool. Most adjustments will be based on brush
size. Don't worry so much about what you see on screen and in previews, as layer
modes will sometimes affect what you see. Adjustments to tone that happen will
tend to be black-and-white...but by the time you get the the end of the
application, the color is re-introduced. The color and tone have to be worked
separately to get the best result.


--
10
--
> I have ordered the tool, how do I download it?

When you place an order for the tool, I have to customize it for you. This takes
some time, and I like to do it in batches, so I do it just once or twice a week.
This lets me work on other development without breaking my time into tiny
splinters. You will receive the tool by email...this is explained on the Mend
tool order page: http://www.hiddenelements.com/Mend/mend_buy.html


--
11
--
> Can this tool run on the Macintosh platform?

All of my tools are cross platform. Most (or all) work on Elements 1 and
Elements 2.



--------------------------------------------------------
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
------------------------------

Many have asked for more details about how Hidden Power Mend works, and are
curious about its healing power. In case you wanted to see a bit more, I posted
a tutorial, demo and explanation here:

http://hiddenelements.com/Mend

Let me know if you have questions or need more information.

Richard Lynch

--------------------------
  Hidden Power Monthly
  January 31, Vol.9
--------------------------

The Newsletter for Elements Users


--------------------------
  In this issue:
--------------------------

BIG NEWS: Healing for Elements
Links
Long Answers (7)

      A prevailing topic these past months has been which product
      to use for image editing. I got a little carried away with
      the answers I provided, and then turned it into an article.
      You'll get the whole thing here, plus a word about creativity,
      color correction, infrared and luminosity masks.

          1. What program is best for image editing?
          2. Elements can't do 48 bit editing.
          3. Getting creative with Elements.
          4. Adjusting Skin Tone?
          5. What book do i use for upgrading to Photoshop CS?
          6. A word about infrared
          7. Clever Application of Luminosity masks?


Short Answers (12)

      These short answers are all over the map, from questions
      about the book and tools to getting serious about image
      editing.


-------------------------------
  BIG NEWS: Healing for Elements
-------------------------------

It may have been a long time coming, but my healing tool for Elements users=
  is finally
here and ready for distribution. I call the new tool Mend and while it work=
s a little
differently than Photoshop's Healing tool, it has all the 'magic' and offer=
s some
opportunity for adjustment that Photoshop's Healing does not. It can make q=
uick
work of some corrections that would otherwise be difficult, and is great fo=
r removing
birthmarks, spots, scratches, damage, etc. If you always wanted to have bet=
ter
corrections than you get with the clone tool, and you have heard about the =
Healing
tool, now is your chance.

Get it here:
http://aps8.com/mend.html

The tool costs $10 and will be delivered by email within a week of purchase=
. Payment
is accepted through PayPal, which allows many different types of credit pay=
ment
options. I'll have some sample corrections up on the website in a few days =
so you can
see what healing can do. Purchase will entitle you to free updates that I m=
ay make
available for the tool, and helps support my interest in helping Elements u=
sers get the
most from their image editing.

Other than that, I finally finished working on my Photoshop book (http://ap=
s8.com/
hppscs.html), and it is great to have that finished. I'm starting to think =
about
updating the Hidden Power Elements book...But I think I'll be doing a few m=
ore tool
enhancements before that. If you have any suggestions, feel free to forward=
:
rl@...


--------------------------
  LINKS
--------------------------

The Hidden Power website:
http://hiddenelements.com

The Hidden Power forum at RetouchPro.com:
http://www.retouchpro.com/forums/
forumdisplay.php?s=&daysprune=&forumid=142

The Hidden Power newsletter archive:
http://groups.yahoo.com/group/hpe

Free Hidden Power Tools:
http://hiddenelements.com/freetools.html

     Or from Adobe:
     Mac: http://share.studio.adobe.com/axAssetDetailSubmit.asp?aID=7531
     PC: http://share.studio.adobe.com/axAssetDetailSubmit.asp?aID=7516

Get the Hidden Power book:
http://aps8.com/hppe.html

Buy Elements:
http://aps8.com/elements.com

Get the new Mend tool for Elements:
http://aps8.com/mend.html


--------------------------
  LONG ANSWERS
--------------------------
1. What program is best for image editing?
2. Elements can't do 48 bit editing.
3. Getting creative with Elements.
4. Adjusting Skin Tone?
5. What book do i use for upgrading to Photoshop CS?
6. A word about infrared
7. Clever Application of Luminosity masks?

-
1. What program is best for image editing?
-
> I read a lot about Photoshop and paint Shop Pro and Elements,
> and I can't figure out what the difference is. What program is
> best for image editing?

There is a lot of confusion and misunderstanding when it comes to choosing =
a
program for editing your digital images and what the differences actually a=
re between
programs. Time and again you will hear that Photoshop is "the best" and man=
y people
consider it the only choice for editing images. While this may have been mo=
stly true
in the past when there really was little competition, it is now inaccurate.=
  The fact is
there are several good image editors and viable options for image editing d=
epending
on your level of use. There is no doubt that there is difference between th=
ese
programs which lies both on the surface (what features are included, how th=
ose tools
are implemented, and the interface) and behind the scenes (how the changes =
you
affect get calculated). But how that effects your image results beyond your=
  technique
in using the different programs may be a lesser issue.

Advanced image editing programs share many common tools that you really nee=
d to
edit images. It is just common sense that an image editor worth using at al=
l will
incorporate the obvious: one manufacturer will know what is in the competet=
or's
tools, and can pick and choose which to mimic-time allowed. As that is true=
, virtually
any of the better image editing packages will do for 90% of users who have =
common
needs. Regretfully, many people who buy Photoshop on recommendation because=
  it
is "the best" without knowing what it means to be "the best", and those peo=
ple may
never need the high-power, professional tools offered in Photoshop that rea=
lly set it
apart as an image editing program. It is the equivalent of putting a 14 meg=
apixel
professional digital camera in the hands of a beginner. They invest in Phot=
oshop
because someone tells them it is the best, or they think they need it to so=
mehow
make their images better, or because it is some type of status symbol. In s=
ome cases
the investment may turn out to be a strange way to proclaim vanity, rather =
than need
or expertise.

For those who don't prefer (or promote using) Photoshop, the program define=
d as
"the best" might end up as the one that they happened to prefer at the time=
  they
started to get the hang of working with images. Their preference may actual=
ly have
been born of something less to do with one program actually being better th=
an
another, than seeing it that way because of familiarity. The catalyst may h=
ave been
something as simple as placement of the tools, design of the interface, pri=
ce,
circumstance or convenience.

Whatever the reason for the preference, the invisible line is drawn, and th=
us ensues
the great debate about some programs being better than others with staunch =

defenders of each camp. Some yodel from the hilltops, and some seek out a f=
ight.
The arguments of this sort are remaniscent of the mac vs. pc wars waged end=
lessly in
newsgroups, forums and listservs. They usually have to do with an extreme m=
iopia of
the user trying to defend their investment-often without really knowing muc=
h about
the other options. Reviews of a product are often tainted by ignorance of o=
ther
products and what those other products can really do.

Which is "the best", is, more often than not, flat out the wrong question t=
o ask. If you
have common needs for image editing, you can likely get results with any im=
age
editing program that you choose-you just need to learn to use it. That said=
, there are
key differences in popularity, price, and system requirements that may affe=
ct your
choice more than features-and these concerns might not matter one iota to t=
he
image results.

Several of the most popular packages for image editing are Photoshop, Paint=
  Shop Pro
and Photoshop Elements. I'll use these packages to point out some of the ch=
oices you
have to be aware of to make the best solution for you. It would only confus=
e the
matter more to throw in additional high-level products such as Ulead PhotoI=
mpact
(PC only), GIMP and Photo32.


  Price Gap

Price is something that is hard to ignore when you look at a comparison bet=
ween
Photoshop, Paint Shop Pro and Photoshop Elements. Photoshop retails for $65=
0, Paint
Shop Pro for $109, and Photoshop Elements for $99. This would seem to place=
  PS in a
class of its own, leaving PSP and PE to battle it out on a different tier. =
At some level
(e.g., professional pre-press use) this may be true, but in reality may not=
  be if the
user honestly considers the important features that will be used day-to-day=
.

Traditionally, high-end items tend to cost quite a lot more than even more-=
than-
adequate bretheren. It is a sort of luxury tax levied by those who achieve =
exclusivity.
A Rolls Royce may weigh in with a hefty price tag, but pales to an indy rac=
er whose
high level of sophistication makes it all but unuseable in daily situations=
  (e.g.,
commuting). I would take neither out in a snowstorm to stock up on needed s=
upplies.
The investment in a rolls or indy racer would strike most as an absurd expe=
nditure
for a daily car unless one was so rich that it just plain didn't matter. In=
  a similar way,
it is hard for some people to swallow the idea that a lower price in an ima=
ge editor
may not mean you get less than you need.

High cost in an image editor traditionally comes with something that people=

completely ignore: increased operating and hidden costs. It should be no su=
rprise
that future upgrades to a costly program will tend to cost more than upgrad=
es to a
less expensive program. More expensive, more robust programs may require gr=
eater
processing abilities, and in-turn have processing needs which require more =
robust
systems-at a greater cost in addition to the program purchase. In recent ye=
ars,
Adobe's attention to processing power for Photoshop has forced many Mac use=
rs to
purchase entirely new systems if they wanted to remain on the cutting edge.=
  This
hidden cost of image processing can total multiples of the cost of the prog=
ram itself.

If you have an unlimited budget for image editing, then it is fine to ignor=
e the costs. If
you are on any type of budget, however, the upgrade expenditure that one ma=
y have
for updating to a new version of a program should be weighted against other=

opportunities. It may be that the investment can be put to better use elsew=
here, such
as in investing in an update for your system (more RAM, a second monitor, m=
ore disk
space, faster processor, a storage and archiving device, saving for a colle=
ge
education, etc.). Some of these updates may prove far more useful to you th=
an the
newest version of the program.


  Upgrade Sidebar

Some people upgrade out of obligation (!), or the need to have the newest t=
oy first,
when the first consideration should be need. No single tool or function alo=
ne is worth
the price difference in an upgrade unless you will be using that feature ex=
tensively.
Upgrades should be looked at collectively; Read the release notes before up=
grading.
Hot new features should be looked at a little skeptically: they should add =
functionality
that cannot be duplicated in any other fashion (for example, this was not t=
he case for
healing and extract functions). A few interesting additions in the feature =
set may get
a bit of attention (by the manufacturer) as key features for a release, but=
  may not
really much more than interesting interfaces to accomplish tasks, rather th=
an must-
have additions. For the most part, new tools are never really magic, and ju=
st about
any process can be mimicked or duplicated using the less expensive programs=
  or
pre-upgrade versions. Snazzy features are often just a variation on using b=
asic tools
in conjunction.


  More Features Doesn't Mean Better

The obvious assumption one might make about a program with more features is=
  that
the program will be more robust, more powerful, and 'better'. However, a ne=
wer user
may not find having more features to necessarily be better: more features m=
ay just
mean you just have more choices to get something done, more potential confu=
sion,
more chances to use things incorrectly, and in the end: more features you w=
on't need
or bother to use. If the added features are essentially redundant you just =
have
additional menu items screens and options to remember. An important factor =
is not
always so much how many features there are, but how they are arranged and h=
ow
intuitive you find them as a user, and what they really (rather than propor=
t to) do.

Regretfully, learning the features of any program is a process. Some red-ey=
e repair
feature you found in a freebee program you got with your digital camera may=
  or may
not be called a red eye tool in another package as it may have different
implementation and/or broader purpose. This makes a one-to-one comparison o=
f
features all but impossible. It is helpful to look at and compare programs =
by
exhausing their demo possibilities. All of the differences between packages=
  may not
become apparent in a short-term trial offered in a 30 day demo, as even wit=
h
dilligence, it is likely that you will only be becoming familiar with the p=
rogram at that
point. However, actually working with the program when possible will give y=
ou a
credible means of comparison-and a better one for determining your need. If=
  you
can't find a feature by name, don't necessarily assume it isn't there.


  A Market Leader with Platform Awareness

Between Photoshop and Photoshop Elements, Adobe is clearly the market leade=
r when
it comes to image editing. This probably shouldn't mean much to making a de=
cision
between programs, but like the effect of hidden costs it can cause an overw=
helming
influence below the surface. While some of the circumstance that leads to b=
ecoming a
market leader may be little more than hype (by the company or users of the =
product),
there are specific advantages to being a market leader. This extends beyond=
  Adobe's
great beta testing program, Adobe's ability to invest substantially in rese=
arch and
development because of their success, and the power to incorporate developm=
ents
from other resources (e.g., programs and plugins) readily.

As Adobe is the market leader, there are many Adobe users, many users famil=
iar with
the package, and a great number of people capable of making information ava=
ilable
on program use (e.g., through books, magazines, DVDs, tutorials, articles, =
websites,
etc.). While this information can vary in value and usefulness, it is far e=
asier to get
knowledgeable (if not merely well-intended) help in using the Photoshop pro=
gram
and features than it might be to find competent help for Paint Shop Pro. Th=
is
availability of users and experience may prove useful when seeking help on =
a project.

As Elements has many features from Photoshop (in fact, many more than adver=
tised,
see: http://hiddenelements.com ), Elements users can enjoy similar support-=
if not
directly as tutorials for the program, by interpreting steps. Elements is q=
uite similar in
function to Photoshop-In fact, Elements is built directly over the Photosho=
p engine,
and the results had using settings for Photoshop tutorials in Elements shou=
ld achieve
the same results. Elements users have let me know, for example, that they c=
an
successfully employ techniques from Photoshop Restoration and Retouching (E=
ismann
and Nelson) with the help of the tools from my book (The Hidden Power of Ph=
otoshop
Elements 2). In other words, with minimal investment, Elements users can do=
  almost
all of what Photoshop users can to correct and manipulate photos. This help=
s
Elements users open the doors to an enormous cache of information that alre=
ady
exists for Photoshop. While Paint Shop Pro users may be able to intuit the =
differences
between the tools and interface, needed settings may prove dissimilar enoug=
h to
cause cross-referencing frustration. On the other hand, should the need eve=
r arise,
the Elements user can make adjustment to the Photoshop interface without mu=
ch
trouble at all, where moving from Paint Shop Pro to Elements or Photoshop m=
ay prove
a bit less friendly. The suggestion here is that the new user can more than=
  get-away
with Elements as a starter program, develop enough skills to warrant an inv=
estment in
add-ins (http://aps8.com/hppe.html), and if there is finally a need to upgr=
ade to
Photoshop, may have a smoother transition than if moving from PSP.

One of the greatest advantages to Adobe products is that they are almost al=
ways
cross platform. The product you work on on a Mac will be nearly the same as=
  the
same program used on a PC. This means that you can go from one type of comp=
uter
to the next, change jobs or buy a new cost-efficient system and not have to=
  worry
that you will need to relearn the program you use for image editing-though =
you may
need to purchase another license. A real drawback to the professional using=
  Paint
Shop Pro would be that job opportunities may actually be limited to shops t=
hat use
PCs. This is regardless of the level of expertise achieved using PSP. While=
  the cross-
platform advantage may make no difference whatever to the home user, it is =
almost
certain that the availability of information will be a boon to those going =
at it in
relative isolation at their home computer.


  Side-by-side Comparison

As mentioned earlier, a side-by-side comparison of features between these p=
rograms
is difficult or impossible. A specific feature by a specific name may not e=
xist in one
interface, but the same results may be possible none-the-less. The real dif=
ference
lies in core abilities of the programs, rather than the features themselves=
.

Photoshop is probably the most full-featured, professional program in the g=
roup that
includes Paint Shop Pro and Elements. However, that means is it has the mos=
t fringe
tools: high-end, professional tools and functions that you will need in a p=
roduction
environment, and short-step, duty-specific tools for common procedures. Cus=
tom
CMYK separations, broad 16-bit support, extensive color management options,=
  on
screen proofing, layer comps, animation (Image Ready), large images, non-sq=
uare
pixels, slices and HTML exports are all examples of hardcore, high-end need=
s
included with the recent Photoshop CS release. These are exactly the tools =
that home
users may never use or care about individually. Tossed into the mix are a f=
ew hype-
tools that may grab user attention and imagination, but that may not perfor=
m the
magic they suggest (e.g., healing, extract, panorama and even channel mixer=
). The
key features that determine a 'need' for Photoshop would almost always be t=
hose
high-end tools listed. The drawback to supporting the broad range of user t=
ools-
from the merely flashy to the more production based-is that the Photoshop i=
nterface
is hugely complex, often with screens buried behind other screens behind bu=
ttons
depending on selected options. Just through sheer bulk, the new user will o=
ften be
daunted - and might find a steep learning curve awaits. It really isn't "th=
e best" for
everyone.

NOTE: I think Photoshop CS is the best release of Photoshop by adobe in a w=
hile, so
I'm not putting down the program. Too many people spend a lot more than the=
y need
to, and I hate to see that.

Paint Shop Pro has virtually all of the every-day tools found in Photoshop,=
  but lags
behind somewhat, perhaps in polish (e.g., vector handling) and a few of the=
  more
recently added advancements found in Photoshop (e.g., 16-bit support). At t=
he same
time, Paint Shop Pro adds its own flavors to the mix, in such popular featu=
res as
nozzles (which act something like a paintbrush full of pictures; some PSP u=
sers collect
and trade these). But, practically speaking, a side-by-side comparison may =
show few
differences that effect daily use and the home user working with photograph=
s. JASC
has been effective in updating Paint Shop Pro in attempts to keep up with A=
dobe's
lead. With the cost advantage, it might seem obvious to any PC user that PS=
P would
be the clear choice because of the abundance of features in comparison to p=
rice (or,
rather, compared to the price of Photoshop). The Mac user is left totally w=
ithout an
option here as the program is PC only, but it does offer a viable, much les=
s expensive
alternative to Photoshop for the PC user. While it is a program that should=
  be taken
more seriously in professional circles, it doesn't have the general accepta=
nce of
Adobe products.

NOTE: I worked on a project with Jasc for PSP6, and have not had much oppor=
tunity to
work with the product since, but even at the time found few things that wer=
e
impossible to do in PSP or that were inherently inferior. Jasc might do wel=
l not to
leave Mac users out on their ear by developing a cross-platform market to e=
xpand
their credability and acceptance.

Photoshop Elements is an adaptation of Photoshop meant to address and attra=
ct the
croud of users who would otherwise be looking to Paint Shop Pro (or other l=
ess
expensive program) because of the strong feature set and attractive price. =
While
removing some of the access to higher-end features, Elements (as per the na=
me)
retains the core functions of Photoshop, and goes one step further to attem=
pt to
simplify the interface. The result is a powerful package with core abilitie=
s that rival its
sister program Photoshop. Note that I suggest it is a 'sister', rather than=
  a 'simplified',
'dumbed down' or 'limited' version as I often see it referred to. Elements =
is not really
made to be a program that is subservient to Photoshop: it is intended to be=
  a
different product entirely that focuses on digital photography and basicall=
y an RGB
workflow. Adobe chose to hide some of the features in the interface (e.g., =
Curves,
Channel Mixer, Color Balance, CMYK, channels, calculations and running acti=
ons â€"
all of which are all possible using work-arounds from my book). This can ei=
ther be
seen as an attempt by Adobe to distance the product from Photoshop, or, and=
  it
seems more correctly, as a means of keeping the interface easier and more
manangeable. The program has an easier structure than Photoshop and is more=

friendly to new users because there are fewer tools on the surface, but tra=
nslating
that to somehow inferior is incorrect. The guts of the program are the same=
  as
Photoshop, and the user can enhance the interface along with their growth a=
s a user.
It serves both the purpose of an introductory package, and in some cases, p=
otential
as a professional one. Certainly it can work as a partner with Photoshop to=
  behave as
a less expensive second license: just build actions you need in Photoshop a=
nd install
them in Elements to create solutions to production needs.

NOTE: As for tools it is said to be missing from Elements, most all of thes=
e can be
devised using the right techniques. For example, I'll be releasing a healin=
g tool for
Elements users, and can easily create an extract tool using existing functi=
onality. It is
all a matter of employing core tools to define technique.


  Which to Buy?

The scenario I have tried to build here is that there is not one correct ch=
oice in image
editing for every user. An honest evaluation of what you need should point =
you in the
right direction as to what program you should buy and use. This evaluation =
should
include a practical look at your individual needs, moreso than how well you=
  can
impress your photo-club buddies by what you can afford to buy. In many case=
s, the
honest answer for what program to use may look to one of the less expensive=

options. Just to say: I have used Photoshop in a professional setting since=
  1992.
Faced with the opportunity to budget a purchase of Photoshop (using someone=
  else's
money) at my current job, I opted to purchase Elements instead and save the=
  rest of
the budget for system upgrades that would better suit my purposes. This dec=
ision
was based on the budget, the reality of needs, the production volume, and a=
vailability
of additional resources.

For the true graphics professional, there may be no substitute for Photosho=
p. The
qualification as 'professional' can vary, however, and this may not continu=
e to be the
case as other products catch up and are released. In the sense I use it her=
e, a
graphics professional is one who deals with a mixed bag of graphics on a
professional level, needing to provide images extensively as part of profes=
sional
services in graphic design (e.g., desktop publishing, web design, etc.). In=
  other words,
while many professional services may have graphic needs (e.g., real estate =
in
processing images of homes), the professional need in all instances may not=
  be so
demanding or varied as to warrant need of Photoshop. However, if there is a=
  feature
used even once a month that is 'Photoshop Only' necessary to provide profes=
sional
results that can't be achieved in other ways, it may be worth the investmen=
t to
maintain clients and production times. Currently Photoshop remains recogniz=
ed as a
standard tool for the graphics professional, and those who are serious in t=
he field will
often be required to have intimate knowledge of the program. It will be the=
  common
program of choice in a professional or business setting, and perhaps a less=
  common
choice in a private one-unless you are really demanding in your graphics ne=
eds or
want a license at home to hone up on and practice using the program.

Paint Shop Pro is a very good choice for the PC user who wants power on a b=
udget
while getting a little more feature-wise than Photoshop Elements will provi=
de. This
user should be somewhat self-reliant, able to concoct solutions from Photos=
hop-
centric materials (because of thinner supply of PSP-centric materials), and=
  should fear
no rebuke or reprimand for using something other than Photoshop by choice. =
Almost
exclusively a home-user pick for PC.

Photoshop Elements is a good choice for home use tool for those on a budget=
, or
professionals who don't have pre-press or other volume imaging demands. It =
can
function as a second Photoshop license to some degree and can be useful for=

processing images using actions and batch functions. It can be a learning t=
ool for
those newer to digital images, and provides room to expand. It can be a log=
ical
choice for those who use Photoshop at work as a less expensive home license=
  option.
It is bi-platform, so is friendly for both Mac and PC users, and it allows =
users to tap
the broad base of information available to Photoshop users with more confid=
ence.
Though lacking in some features available in Photoshop and PSP (e.g., pen t=
ool), it
has just about all of what you will need for image processing (lacking a fe=
w things
such as 16-bit functionsâ€"though it will open 16-bit images as 8-bit). a g=
ood pick
for most users on many levels.

The thing to keep in mind is that it is not the package that makes the imag=
e. Much of
your image processing should be done in the camera. It sometimes takes year=
s to
master image editing (using any program) to the point where you are comfort=
able
with and good at what you do...it is like learning any art. Depending on yo=
ur
background you may have some insight to make the learning go faster, but as=
  I've
said elsewhere, a more expensive hammer will still only drive the nails. El=
ements,
Photoshop and PSP *are* comparable, and the difference is not so much that =

Photoshop would be a nailgun compared to a hammer. If you aren't much beyon=
d
using Autocontrast, the choice of programs won't make your images much bett=
er.
Each program has many useful production featuresâ€"most all that you will n=
eed in
common situations. To me, if you aren't doing high-volume CMYK, working in =
16-bit
and writing your own actions, owning Photoshop won't matter much...a less b=
road
tool may be "the best" for you.


-
2. Elements can't do 48 bit editing.
-
> Your truly excellent book notwithstanding, for me the most
> important function that Elements 2 (as well as prior Photoshop
> versions) can not do is support of 48-bit color (16-bits per
> channel) in all image editing and processing operations! Without
> that, Elements is no good to me.

48-bit was not even supported (fully) in Photoshop until Photoshop CS (http=
://
aps8.com/pscs.html), which was just released. So if 48 bit is that importan=
t, what
program were you using?

I am not privvy to such information, but i would expect Elements (http://ap=
s8.com/
elements.html) will not be handling 48-bit but in a cursory fashion in futu=
re versions
(allowing users to open 48-bit files by converting to 24). While 48- bit ma=
y be
valuable for some archiving purposes and in some corrections, the proper co=
rrection
techniques (non-violent ones) should really get similar results for almost =
all
purposes. Output cannot even really make use of 48-bit color at this point.=
..and it is
difficult to assess the difference between millions and billions of colors.=
  Of all things,
I would think grayscale is where one profits most. Even there, conversion t=
o 24-bit
will currently be the end point.

To me, 48-bit is a professional need -- something that most users will neve=
r look
for. In several years it may be a standard, who knows. In any case, it does=
  not render
Elements invalid (nor 24-bit images). I never suggested there was no need f=
or anyone
to get and use Photoshop. However, I also stand by that for the grand bulk =
of users,
Elements will more than cover what most users need or want to do with digit=
al
images...with or without 48-bit support. My book (http://aps8.com/hppe.html=
) adds
to those possibilities without the $600 price differential. Even a fraction=
  of that
difference can allow users to upgrade their systems significantly in ways t=
hat may be
more valuable: such as adding a second monitor to increase desktop landscap=
e
(http://aps8.com/monitor.html ; you will usually need a second video card h=
ttp://
aps8.com/pcicard.html) or adding RAM (http://aps8.com/RAM.html), or even ad=
ding
another storage device. In other words, I don't think 48-bit is the only co=
nsideration
-- you'll need roughly double the handling power in your system...and other=

additions may prove more valuable to your work and workflow than 48-bit. Pr=
esently.


-
3. Getting creative with Elements.
-
> It seems to me you have to go into Elements with
> something in mind, or else I just don't know what
> to do. I find Elements boring and not as creative
> as i thought it would be. Will your book help with
> that?

I have taught creative writing and creative imaging, and perhaps this isn't=
  what you
want to hear but 'boring' is in the eye of the beholder. If you are going i=
nto Photoshop
to do something, it isn't the program that you will have to expect to perfo=
rm tricks or
keep your interest. YOU have to provide the interest, and perhaps that is o=
ne of the
hardest things to come to terms with. If I am writing a story and it turns =
out boring, it
is either because I was unable to do something interesting or just having a=
  bad
creative day...I'd be hard-pressed to blame that on MS Word (no matter how =
delightful
it might be).

I, for one, very rarely find that there is nothing I can do in Photoshop to=
  make
something interesting. My direction might be as stupid as running a few fil=
ters on an
image, or opening an image at random and playing with it to achieve some
interesting results. In writing as with images, teaching creative stuff was=
  always a
matter of getting students to realize it was OK to play. My guess is you do=
n't see it as
a game anymore, but as work where something is required, you expect to perf=
orm at
a specific level, and have led yourself to an impenitrable wall of disappoi=
ntment.

My books (Elements: http://aps8.com/hppe.html; Photoshop: http://aps8.com/
hppscs.html) don't really get into teaching creativity...and the reason for=
  that is it is
too user-centric. A user would buy a book that told them they would become =
more
creative with the expectation of becoming more creative, and, well, that is=
  a tall order
to put on myself as an author. I can teach techniques, and even techniques =
for
creativity, but I can't promise to make a reader creative if they have no
capacity...Again, it isn't the tool or the book or the inspiring object tha=
t makes us
creative, it would still be the sense of play.

My perscription would be to go into the program without expectation. Open a=
n image
and start by doing some basic things like dust corrections and other perhap=
s
mechanical procedures like color correction until you see something in an i=
mage that
might be interesting to explore...then start playing with it.


-
4. Adjusting Skin Tone?
-
> I have recently started doing digital touch up and color correction
> for wedding photographs and am finding that it is realatively new
> waters that I am in, as far as adjusting for skin tones. When
> looking at an image, I can tell if it is too greem or pink and
> such, but when I go to take the slightest green out, I see the
> magenta go in and I think it looks too magenta. When I take a bit
> of blue out, I see the yellow go in and it looks too blue.
> It also happens with the wedding dress. In the shade the dress
> takes on a blueish cast, but when I take the blue out, I get too
> much yellow it seems.

The touted solution by some experts and such seems to be in targeting the s=
kin tone
adjustment, like so:

  >> An average, middle-of-the road caucasion skin tone reads:
  >>
  >> magenta: 40%
  >> yellow: 50%
  >> cyan: 16%
  >> black: 0% (You should never have any black ink reading.)

I have tried to make such recommendations in books in the past but also inc=
lude a
disclaimer that suggests such targeting can't be accurate. These are suppos=
ed to be a
guideline...but inherently fail because of the problems inherent in the dif=
ferences
between skin tones. The number of exceptions outweighs the validity of the =
guideline
(e.g., what about rosacious skin, what about yellow skin, black skin, etc.)=
. You can't
possibly measure the skin tone with accuracy: or, rather, you can measure w=
hat is
there, but only guess as to what it should be. Guessing, I think, is not ac=
curate. The
most troubling part about the recommendation is that you never have black i=
n the
skin tones. I think this is just incorrect. Shadows happen, skin tones run =
the gammut,
and there is no way to say: no black.

The real solution I would look at, ESPECIALLY for the original question (co=
rrecting
wedding images) would to forgo correcting the skin at all (!!). If you corr=
ect for the
grays, which CAN BE MEASURED, you will get far better color (if accuracy = =
better).
The idea would be to neutralize the grays and as a result, the color will n=
aturally fall
into place. In the case of a wedding photo, your grays are really built in:=
  you will want
to correct the tone of the tux (black, white or gray will work) and various=
  areas of the
normally white gown. If you correct white and black points (lightest and da=
rkest in the
image) and then various tones throughout the range (say 25%, 50% and 75% gr=
ay),
your skin tones will correct NO MATTER WHAT SKIN TONE the subject may have.=

Grays will be predictable in that the Red, Green and Blue values will be eq=
uivalent
(128, 128, 128 is medium gray). Gray values are far less tricky to work wit=
h than skin
tone.

Once the image is correct, then might be the time to change the skin tone t=
o make it
more pleasing (pleasing is not always correct/accurate). Another thing to k=
eep in
mind is not to necessarily correct to what you see on screen but to correct=
  by the
numbers. This can take your color settings out of the loop--If your monitor=
  is
presenting wrong and you change the image to be a little less yellow when y=
our
monitor presents a little yellowish already, the result might be far too bl=
ue. Trust the
measures, not what you see on screen.


-
5. What book do i use for upgrading to Photoshop CS?
-
> I've just purchased the Photoshop CS upgrade but
> haven't installed it. Frankly, I'm still a beginner
> and use Photoshop mainly to improve my digital
> photos for printing. I have about 6 books on
> Photoshop 7 (most of the ones mentioned here)
> and haven't yet gone through all of them.

I would suggest that if the books are decent ones, you should be able to ap=
ply the
techniques from PS6 and PS7 to PSCS. For example, Katrin's book has no vers=
ion
number, I believe for good reason: it will be applicable for most of what y=
ou want to
do -- regardless of the tools. The only real difference between 6 or 7 and =
CS is that
you will not have the new CS features/advantages, and some of the tools/fun=
ctions
may be somewhat different/enhanced, or may be located in a different place.=
  As a
beginner, you will mostly be using more common tools in the interface that =
have
been around for a while.

I would not be looking to buy new books if you haven't digested the old one=
s. Though
there may be better books coming with better techniques, and I am glad for =
those
who help support authors (!), you should have quite enough source material =
to keep
you chained to your computer for a while.

I have to ask as I am curious: why did you upgrade the program for casual u=
se of
Photoshop when you weren't already sure of the differences? I would imagine=
  the
program serves its purpose as version 6 or 7, and wonder if you have upgrad=
ed out
of habit rather than real need? Before committing to an upgrade be sure the=
  new
features are something you need -- and at that point the potential differen=
ce
between the books dedicated to any version should be evident. Your request =
suggests
you might not be clear on the advantages first, and that might be a tactica=
l error...


-
6. A word about infrared
-
Just a word about infrared.

While there may be filtering or means of creating an infrared effect (some =
of these I
have seen as plugins are really pretty mediocre), this would be a complicat=
ed process.
Though I have a section on doing this in my new book, the effect only mimic=
ks the
real outcome. The reason for this is IR is outside of the spectra of visibl=
e light. In
normal circumstances and in an sRGB color space, IR will not be recorded/re=
tained
(this is not to say some sensors do not have sensitivity to the IR spectra =
-- that is two
separate issues). If IR light is not specifically recorded, you will not ta=
ke visible light
and make an accurate adjustment to mimick IR. It would really require rebui=
lding the
effect.

That said, the process would need to take many factors into account to achi=
ve an
effect, such as image brightness and filtering per color (IR photography in=
  B&W filters
out blues and greens depending on color, you will find that starting with t=
he red
channel is a good jumping off point). The best results may be had by forcin=
g shifts in
greens toward red so that you get whitened foliage...but that even by examp=
le only
addresses a portion of the complexity which is the infrared spectrum and ho=
w it has
traditionally affected film.

Some digital cameras like the Rebel (which has a sensitivity to infrared) w=
hen used
with IR filter seems like a more realistic way to produce these effects...a=
nd then there
is always using IR film in an analog camera.

Sometimes there really is no substitution. A similar problem occurs in unde=
rwater
photography where everything at any significant depth turns blue -- as othe=
r
wavelengths peter out. You can only record the light that is there with equ=
ipment and
media that can actually handle the information.


-
7. Clever Application of Luminosity masks?
-
> In a previous newsletter, you mentioned 'clever use' of
> luminosity masking. It was the "cleverness" in applying
> (a presumed) knowledge of masking to luminosity that I
> was seeking hints.

There are many ways to achieve this, including loading the composite channe=
l as a
selection, creating a luminosity layer and converting it, duplicating the i=
mage,
converting to LAB and copying out the Lightness channel, and making an acti=
on to do
your favorite of these. As loading the composite is perhaps the easiest, tr=
y these
steps:

1. View the image as you want it to load based on brightness. Transparent a=
reas act
as white. White areas will be selected 100%, black 0%, and grayscale varyin=
g with
brightness.

2. Command/Ctrl + click the composite channel (the upper-most channel: RGB,=

CMYK, Gray, Index, Bitmap, etc.). This will load the brightness as a select=
ion. At this
point you can use this as a shadow mask by applying it in a layer mask as f=
ollows:

3. choose the layer you want to mask.

4. choose Layer>Add Layer Mask>Reveal Selection

If you want to apply as a highlight mask, you can invert the selection befo=
re using the
shadow mask steps, or just choose Hide Selection.

There may be situations where you will want to adjust the luminosity maskin=
g to
specific tonal ranges. For example, say you wanted to isolate the shadows, =
you could
adjust the mask using the following steps:

1. Adjust the image to how you want to base the luminosity mask (as in step=
  1
above).

2. Create a new layer at the top of the layer stack. Name it Luminosity Adj=
ustment.

3. Press Command+Option+Shift+E / CTRL+ALT+Shift+E to copy the content of t=
he
image to the new layer.

4. Adjust the image using curves and set the points (using percentage mode)=
  to: 0,0 ;
49,0 ; 51,100 ; 100,100 .

5. Command/Ctrl + click the composite channel (RGB, CMYK, Gray...). This wi=
ll load
the brightness as a selection. Brightness will be enhanced by the correctio=
n in step 4
so that the luminosity selection loads 100% strength between what is 0-49% =
black in
the image.

6. Shut off the view for the Luminosity Adjustment layer.

While the selection outline of these two sets of steps will look the same, =
they will do
very different things, both based on luminosity. There are many additional =
ways to
adjust the tone before creating your mask -- some quite precise, and others=
  that can
save hours of work time in creating more complicated masks based on tone (o=
r color).

I cover quite a lot of similar stuff in my new book: The Hidden Power of Ph=
otoshop
CS, out in stores in the new year. Find it on Amazon here:
http://www.amazon.com/exec/obidos/ASIN/0782142559/newwriting/



---------------
  Short Answers
---------------

-
1
-
> I seem to remember that when I originally installed the Hidden Power
> Tools from the CD, there was a filter that allowed for turning an
> image to sepia. I seem to have lost that filter.  What is the best
> way to get it back?

There are several methods for achieving Sepia effects using the techniques =
in the
book. I am not sure what filter you are referring to. see pages 123-129 in =
Hidden
Power.


-
2
-
> Was your book written for PC's?  Is the CD for PC platform?

As i work on mac and PC, I have written the books for both platforms...actu=
ally the
image editing thing is quite independent of platform, in my estimation. The=
  CD works
for both platforms and for Elements 1 and 2. I use it on both mac and PC pr=
etty much
every day, and there is very little difference. Adobe has done some great w=
ork in
attempts to keep the programs the same. The interface may look slightly dif=
ferent
because of the wat things are drawn by the platform...I don't know that the=
re is
enough of a difference there to really effect what you do.


-
3
-
> I am considering a new computer and can't decide on whether
> to get a Mac or PC. Do you prefer PC to Mac and why?

Oh, no...platform wars. I work on both and own both. If you have computer
experience, it is often comfortable to stick with the platform you know. If=
  you have a
previous computer, just changing platforms isn't always that easy -- you ha=
ve to
consider the software investment you have made. For example, I have about 2=
0k in
software for mac in the closet...I don't see making that investment again s=
oon. On the
other hand, I work on a PC at my regular job, and have a PC laptop. If eith=
er is better,
I have a hard time telling which. Either has their charms and fortes. If I =
appear to have
a preference for mac, it is mostly because of the investment I have made in=
  it as my
primary workstation. Traditionally, Mac has had more room for lots of RAM, =
and had
done more with dual processing and multiple monitors, but most of this diff=
erence
has been wiped away in recent years.


-
4
-
> Will the HPAIII tools allow any Photoshop Action to be run
> on Elements or only the custom ones you make available?

The instructions explain this in more detail. In theory, any action can be =
run in
Elements. In practice, it has to do with how the actions were recorded. I a=
m of the
impression that ANY action can be adjusted. I have been known to help with =
these
adjustments when asked.


-
5
-
> What is a flattened image? I'm new to photography and Photoshop
> Elements 2 and I need to learn.

A flattened image is one where the layers have all been merged into the bac=
kground.
You can flatten an image by choosing Flatten Image from the Layer menu
(Layers>Flatten Image). Images that you get from your camera or scan are al=
ready
flattened.


-
6
-
> If I adjust a photo using levels along with the options, would you
> ever see a need to a highlights/shadows adjustment, and what steps
> would you take for it?

Yes. Please see the hiddenelements free-bee actions in there is a highlight=
/shadow
masking tool. You would use it for images where you take separaate exposure=
  for
highlight and shadow and then combine the result. You could also use one of=
  the
masks to make an adjustment while leaving the other part of the image maske=
d. For
example, if there are some details you want to enhance in the shadows, mask=
  the
highlights so they aren't changed by alterations you make to the image. Tha=
t's the
short answer.


-
7
-
> I'm trying to learn how to write actions myself. Is it an absolute
> MUST that they be written in Photoshop CS (in which case I have 29
> more days to do it) or can they be edited in another program?

Actions can be written in PS6, PS7 or CS. I believe the PS6 demo is the bes=
t to get
because it should not expire (and should continue to allow you to save acti=
ons). There
was a link in the last newsletter to PS6 demos for Mac and PC. This demo do=
esn't
expire.

Editing them in other ways is POSSIBLE (e.g., text editing, and another mea=
ns I was
fiddling with), but at the same time perhaps so labor intensive and difficu=
lt that I
don't know that i would recommend it.


-
8
-
> Having just moved to Elements, one thing I really
> miss from my previous package is the ability to
> store/load selections. is there a work round for
> this in Elements?

If you have Elements 2, the save for selections is right in the Select menu=
  (Select>Save
Selection).

If you have Elements 1, there are work-arounds in my book, and a tool for s=
aving
selections specific to the Elements 1 installation of the tools included on=
  the CD.


-
9
-
> I'm new to digital photography and hope to
> use Photoshop eventually in a number of different ways.
> What is the best way to start with Photoshop? 

If you haven't yet made a Photoshop purchase, you might consider looking in=
  to
Photoshop Elements (http://aps8.com/elements.html). This program along with=

Hidden Power (http://aps8.com/hppe.html) will probably do everything you ne=
ed and
save you money so you can upgrade your system.


--
10
--
> I want to get serious about editing images. What do I need?

If you are really serious I recommend getting a lot of drive space and as m=
uch RAM as
you can afford.

RAM: http://aps8.com/RAM.html

I would also consider a second monitor -- especially if you only have a sma=
ller one.
This will allow you to increase your desktop landscape, treating both monit=
ors as one
larger one.

Monitor: http://aps8.com/monitor.html

You will probably need a PCI card for the second monitor. Without this ther=
e may be
no way to plug in the second monitor.

PCI Card: http://aps8.com/pcicard.html

As far as I am concerned these additions are worth more than whether you us=
e
Elements or Photoshop.


--
11
--
> Is there a History Brush in Elements?

The History Brush is included in the tools that come with my book -- or at =
least a
simple work-around. There is a tool that lets you set up the function and i=
t is actually
easier to apply than Photoshop's history brush. It is based on simple maski=
ng and
stamping visible. All you'd do manually is:

  1. make the history state as you want it to look
  2. create a new layer
  3. stamp visible
  4. add a layer mask and hide all
  5. paint on the mask to reveal the history state


--
12
--
> Hope the Healing Brush is going to be our Christmas present.

Um, well, uh...it is available for valentines day!


--------------------------------------------------------
  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
------------------------------

--------------------------
  Hidden Power Monthly
  November 30, Vol.8
--------------------------

The Newsletter for Elements Users


--------------------------
  In this issue:
--------------------------

Links
Catching Up
Long Answers (7)

      Continuing with some color management discussion this month,
      but also getting into a discussion of the advantages of
      Photoshop and working with dual monitors

           1. Which Color Space should I use?
           2. What do Screen and Multiply Layer Blending Modes do?
           3. What I see isn't what I get!
           4. Comments on on-screen proofing in the last newsletter
           5. What does Richard think about Photoshop CS?
           6. Using Dual Monitors with Elements?
           7. What is wrong with Ling's tools?

Short Answers (9)

      What's a color space?
      Trouble installing the tools?
      Can't find the tools?
      Desired: smaller file size, same image?
      Layer Mask (free tool) broken?
      What makes a free tool free?
      Where do I get a PS 6 Demo?
      How do I change the color of the HPAIII effects?
      Why 120 degree change in hue for separations?


--------------------------
  LINKS
--------------------------

The Hidden Power website:
http://hiddenelements.com

The Hidden Power forum at RetouchPro.com:
http://www.retouchpro.com/forums/forumdisplay.php?s=&daysprune=&forumid=142

The Hidden Power newsletter archive:
http://groups.yahoo.com/group/hpe

Free Hidden Power Tools:
http://hiddenelements.com/freetools.html

     Or from Adobe:
     Mac: http://share.studio.adobe.com/axAssetDetailSubmit.asp?aID=7531
     PC: http://share.studio.adobe.com/axAssetDetailSubmit.asp?aID=7516

Get the Hidden Power book:
http://www.amazon.com/exec/obidos/ASIN/0782141781/newwriting/

Buy Elements:
http://www.amazon.com/exec/obidos/ASIN/B00006ANW9/newwriting/


--------------------------
  CATCHING UP
--------------------------

I wonder why this Catching Up section always makes me feel like I am behind...

I know, I know, I know -- I said November for Healing. I hate to say it, but I'm
STILL finishing up the new book: The Hidden Power of Photoshop CS. I am,
however, certain to have the book done in a week or so -- and when it is I can
shift my focus back to Elements.

See the new book here:
http://www.amazon.com/exec/obidos/ASIN/0782142559/newwriting/

If you are inspired, get Photoshop CS:
(full license) http://www.amazon.com/exec/obidos/ASIN/B0000DBOAX/newwriting/
(upgrade) http://www.amazon.com/exec/obidos/ASIN/B0000DBOBZ/newwriting/

First thing I plan to do when I get the new book out of the way is get out the
Healing tool. No kidding. It really works, and everything -- isn't a figment of
my imagination, etc. I've also had a few interesting suggestions for new tools,
like kerning and leading controls for type, and alignment variations (align
right, bottom, etc.). Those will come after, but I might include them all in a
set...I expect you will definitely see something in the way of an announcement
soon.

IF YOU HAVE QUESTIONS: please either go to the RetouchPro forum and ask them,
reply to this newsletter, or send them to me directly. It is easiest to get
things in the newsletter if you just reply! The forum will get you quicker
answers most of the time. Don't like the questions I am answering? ASK SOME!

Feel free to let me know about tool, action and other Elements enhancement
requests! I plan to do an enhancement for Hidden Power this month -- NO KIDDING!
-- if you want something included, let me know.


--------------------------
  LONG ANSWERS
--------------------------
1. Which Color Space should I use?
2. What do Screen and Multiply Layer Blending Modes do?
3. What I see isn't what I get!
4. Comments on on-screen proofing in the last newsletter
5. What does Richard think about Photoshop CS?
6. Using Dual Monitors with Elements?
7. What is wrong with Ling's tools?


-
1. Which Color Space should I use?
-
> I have heard it is important to use Adobe RGB to get the
> best results from my images. Is it better to use Adobe RGB
> or sRGB as the working space?

Before anybody gets uppity about 'not being able to control working colorspace
in Elements', see pages 23-24 of the book.

One thing people seem to ignore when approaching this question is that Adobe
gives you choices for a reason. If one thing were necessarily better, they would
make it the choice and leave it at that. The reason they give you a choice is:
there is a choice to make.

Adobe RGB is said to be a 'bigger' color space. I disagree that 'bigger is
better'. First, bigger does not mean that there are more colors, it means that
the colors are mapped differently. That is, you will be working with 8-bit color
(256 variations in each channel) no matter how 'large' the color space. Adobe
RGB is not so much a better representation as a different one. If you make
corrections to your images and do not embed profiles (so that a device will know
you were working in Adobe RGB), it actually may do more harm than good to use
Adobe RGB. Without embedded profiles, the result will tend to desaturate, and
will look worse than if you'd just corrected using sRGB as the working space.

The other misconception is that you can necessarily get better color with
embedded profiles. If profiles are inaccurate, ignored, used incorrectly, etc.,
chances are you'll get WORSE results rather than better -- regardless of the
printer.

If using Adobe RGB as the working color space (this means the color space you
are working in, and is perhaps the point of confusion), PS or Elements looks at
the stored profile and changes the view of the screen so you can see a best
approximation of what the image looks like with the color mapping. Interesting
thing, if the Adobe RGB is larger than your screen color space, you are actually
seeing something less than the color actually in your file -- or the Adobe RGB
color is rather crammed into you monitor color space so you can see it all. That
doesn't sound accurate to me. The tendency will be that printing with the
embedded profile will make the image bloom a bit -- increasing saturation of
color. If this is an effect you like or that works well with your printer,
perhaps it is what you want to use. You will be dependent on the embedded
profile, and should not work without them.

If you work with sRGB, you will tend to get mostly what you see on screen, as an
acurate representation. You are not bound to profiles that will change your
information from what you see to something else, and should you embed profiles
or not you will tend to get exactly the same result.

Using Adobe RGB or sRGB, the goal of your corrections should be to optimize the
correction for your image. In my not-always-so-humble opinion, you should be
making corrections to optimize in either case, and IF YOU DO -- you should get
nearly the same results.

In other words, I thinkt there is much-ado-about-nothing when it comes to
profiles and color spaces. If you know what you are doing and learn to use them,
you can get great results with-or-without using Adobe RGB and with-or-without
embedding profiles. As I say in The Hidden Power of Photoshop Elements 2, using
profiles is like adding a half-step to a staircase...it may help you get up more
easily, or it may just as well trip you.

Personally I work in sRGB and don't embed profiles. I use on-screen proofing to
test color results to get an idea, and then run test prints to any new printer.
I would do this WHETHER OR NOT I embedded profiles. I also tend to make my own
separations, which are a good thing if you have confidence in the process, AND
know that your printer is NOT making a CMYK>RGB>CMYK conversion.

Color management is actually trickier than a lot of folk let on...there are more
misconceptions than not. My motto is, when in doubt, simplify. I've helped more
people get predictable results using sRGB, proper monitor calibration and no
embedded profiles than attempting to go the other way. But there is no reason to
dismiss other workflows IF you test them, study them, and get them to work to
your satisfaction.


-
2. What do Screen and Multiply Layer Blending Modes do?
-
> Can you explain how the Multiply and Screen blending modes work
> in splitting RGB colors into channels?

  Screen = always lighten
  Multiply = always darken
  Light = always lighten
  Ink = always darken

  Screen = Light
  Multiply = Ink

  When you apply Screen, any pixel that is lighter than black will lighten the
content in the images below the Screen mode layer-- it is as if the layer
content were a sheet of light that you could add to the layers below (adding
light always brightens). The effect is really to dodge the canvas (dodge being a
darkroom term for brighten by keeping the light from paper during negative
exposure). When you add RGB channels, they will come together in screen mode,
acting as light does to brighten (lighten, dodge).

  Multiply is just the opposite of Screen. Every pixel darker than white will
darken the content in the image below the Multiply mode layer. It is as if the
layer were a sheet of ink that you can add to the layers below (adding ink
should, technically always darken -- exceptions being inks that have an opacity,
like a metalic). The effect is like burning the canvas (burning bing a darkroom
term where light is allowed to focus on an area of the image during negative
exposure). When you add CMYK channels, they come together in Multiply mode.

  RGB channels are colored by darkening the light areas of the channel content.
Red, green, and blue are added in multiply mode to darken and shift the
corresponding influence of the channel toward the intended color, in essence
filtering the effect to the specific color added, and imitating light. The
lightest any one of the channels can be is the pure R, G, or B color -- which
represents a pure component of the RGB light scheme.

  CMYK channels are colored by lightening the dark areas of channel content. CMYK
colors are added in Screen mode to lighten and shift corresponding influence of
the channel toward the intended color, in essence filtering the effect to the
specific color added, and imitating ink. The darkest any one of the channels can
be is pure Cyan, magenta, Yellow or black -- which represent components of the
CMYK inking scheme.

  The idea of assembling the image from channel components is really described
conceptually using the Gorskii image. If you can understand how and why he
separated his images into RGB, you should be able to pick apart and assimilate
how Screen and Multiply modes work in the separation. In RGB mode you add
colored Multiply layers to filter the light components (as Gorskii did with
filters over his lense). You apply the channel content as Screen, however, to
imitate the effect of light (which brightens, if there is any at all). Screen
mode represents how Gorskii would have re-assembled his images, by projecting
the captured content with light, back through a colored filter that targets the
color to be re-assembled in the focused result.


-
3. What I see isn't what I get!
-
> Can you shed some light on why
> WYSIWYG is not working for me in Elements?

  Yes. Here is the brief story.

  There are several issues:

  1. RGB is not the same as CMYK
  2. Color Setup has to be correct
  3. Choices in printing have to be correct
  4. You have to use the right media and printer

  -1-
  What you see on your monitor will not always translate to the printer
  because your monitor is RGB and your printer is CMYK (or some
  variation). RGB is light theory, and CMYK is based on absorption of
  light. The two are similar, yet opposite...CMYK color cannot
  reproduce everything you can create in RGB. That is no matter what
  you do. You will see the most discrepancy in bright greens, blues and
  reds.

  -2-
  You need to calibrate your monitor and choose a working space (via
  color settings). I know you will say you ran through the settings for
  color management, but that isn't always enough. I recommend using NO
  COLOR MANAGEMENT until you can get results. Using other setting may
  sound more savory, but frankly they don't always help.

  -3-
  When you go to print, your selection of paper types and making the
  most out of what the printer driver (and Elements!) has to offer is
  recommended. If you are just printing with the defaults and not
  choosing settings to work best with the paper you have selected to
  print on, you are doing your results a disservice.

  -4-
  If you print with cheap paper, expect the results to come out fair.
  Photo paper is more expensive for a reason and will deliver superior
  results (unless your calibration and technique for correction are not
  so good).

  While this is the case -- and your monitor will not always be able to
  match your screen -- you can get closer by learning about how to use
  the program, printer and media correctly.

  There are some good books on the subject.

  Elements:
  http://www.amazon.com/exec/obidos/ASIN/0782141781/newwriting/

  Photoshop:
  http://www.amazon.com/exec/obidos/ASIN/0782142559/newwriting/

  And you might have a look at my more recent Hidden Power newsletters which had
  quite a few questions on color and management...


-
4. Comments on on-screen proofing in the last newsletter
-
> I was reading the last newsletter and I'm not sure the
> screen proofing suggestion you made will work.
> 1. Isn't it possible (likely) that different adjustments
> would be needed for images with different color characteristics,
> making this workaround less useful than is would seem to be?
> 2. Wouldn't using this workaround make it less important to
> Calibrate your monitor (Adobe Gamma) and create a monitor
> profile as you suggest as the first step?

I'm pretty sure it works, as I've used it. But...

1. Well, yes, sorta. I don't think 'less useful' is right. Theoretically, if you
hit on a perfect alignment, it should be useful for any image, after-all
remapping color this way is very similar to what Adobe does with monitor
profiles to create previews. Don't mix this up with color correction -- you are
NOT correcting the color, you are adjusting it for how a device behaves. The
lack of a means of perfect measure would be the difference -- or at least most
of it. If you've got nothing else -- and a lot of patience -- you should be able
to do pretty well with this. A profile is really nothing but a fancy gradient
map. You can over-complicate anything. Something similar to this is really how
printer profiling works. If you have hundreds of dollars for putting together
printer/paper combo profiles (or to buy the profiling equipment), that is the
alternative. This should help get you in the ballpark. That's useful.

2. No. These two things are distinct. You are flattening the response of the
screen and creating an ICC profile that Elements uses behind the scenes to give
you a preview. Try goofing around with those settings and have a look at what
you see on screen. The less accurate the profile created by your calibration,
the less accurate the preview. I don't think you will find any author or expert
that would say "don't calibrate, it's a waste of time." That isn't proof in
itself. The only time it wouldn't matter is if you view your own images on your
own screen only. If you print on white paper or yellow, you WILL see a
difference in the image. It will be yellowish. If you correct on a yellowed
monitor, it will be 'yellowish'. Calibrating helps keep the 'ish' out.


-
5. What does Richard think about Photoshop CS?
-
> I am thinking of upgrading to Photoshop CS. I mean I like Elements but
> contunue to feel like there is something I am missing. What do you
> think of CS and is it worth the upgrade?

I am more impressed with the Photoshop CS upgrade than the PS7 upgrade (from PS6
to PS7). There are many more features that make a difference for the
professional. Again, not everyone needs Photoshop and you should know when you
do BEFORE upgrading. I would be curious as to what these things are that you
think you are missing. I might be able to add some of them to Elements. If the
thing that you are missing is someone poking at you for using Elements instead
of Photoshop, hold out till you have a real reason.

One of the most interesting features for this upgrade is the possibility of
moving to the Photoshop Suite, which contains Illustrator, GoLive, Acrobat Pro
and InDesign. It costs a lot, but if you use these, the upgrade ends up being
inexpensive:

Photoshop CS:
-------------
http://www.amazon.com/exec/obidos/ASIN/B0000DBOAX/newwriting/
Upgrade:
http://www.amazon.com/exec/obidos/ASIN/B0000DBOBZ/newwriting/

CS Premium Suite:
-----------------
PC:
http://www.amazon.com/exec/obidos/ASIN/B0000DBN6M/newwriting/
PC Upgrade:
http://www.amazon.com/exec/obidos/ASIN/B0000DBNDJ/newwriting/
Mac:
http://www.amazon.com/exec/obidos/ASIN/B0000DBN4H/newwriting/
Mac Upgrade:
http://www.amazon.com/exec/obidos/ASIN/B0000DBNCT/newwriting/


As far as new features go: The ability to use 16 bit in much broader
circumstances, log tracking for what steps you take with an image, large file
support (up to 300,000 x 300,000 pixels), inclusion of the camera RAW plugin,
nested layers sets (up to 5 levels), and conditional actions and SWF saves for
Image Ready. Some of these may be too specific for general users, but they may
be indespensible for professionals with access to equipment powerful enough to
make use of these features.

Several items are more useful for the general user, like healing to a layer,
text on or in a path, the Filter Gallery and customized shortcuts. Healing to a
layer gives the user more opportunity and flexibility to use the healing results
less casually and potentially destructively, and so the user can manipulate the
result after the fact. Text on a path has always been a sore point for users who
creatively use text in their images and had to turn to Illustrator to do the
job. The Filter Gallery is finally a way to implement filters creatively as they
should be used: in sets. You can rarely get an interesting and desireable
creative effect applying Filters one at a time, and this enhancement makes
grouping possible. With customized shortcuts, gone are the days when you have to
research out a shortcut that you knew you used once...and you get a new
productivity boost by keying in your own without having to create separate
actions and use F keys. Not only do you have access to the shortcut listing from
within Photoshop, and a very well presented interface for changing shortcuts,
but you can print them all out. You can copy that shortcut file and take it with
you to propogate on other machines, and customize personal sets for multiple
users on any machine.

For newer users, the possibility of adding content to the Help menu will
probably be a huge boon. Many experts will be interested in providing quality
information — probably for free — to include on the menu.

I don't see a lot of negatives except what might have been sadly over-looked in
broadening the implementation of enhancements. However, Adobe needs something to
keep you wishing for...

For many users, Elements will be the ticket -- despite the attractive upgrade
packages for Photoshop. Elements can do quite a lot and is often the best value
for home users and more casual hobbyists. I expect to see some interesting
enhancements for version 3 (which I expect will arrive some time in the summer).


-
6. Using Dual Monitors with Elements?
-
> Is it possible to use dual monitor setups with Elements?
> If so, what are the advantages?

I've been using two monitors since about 1995. On Mac. PC didn't support it till
later on, and I do use two monitors on my XP system. People look at it like it
is something from outer space. To me there is no other way to work with
Photoshop, graphics and the web. the advantage is you can work full screen on
your images on one monitor and push all the palettes and tools to the other
monitor -- and you don't have to worry about blocking you view of your images.

So what does it cost? What the setup generally requires is a second video card.
That is, if you have an open PCI slot, you can get an inexpensive video card and
monitor and snap in the card, plug in the monitor, and away you go. It is just
about that simple for mac and XP these days. I have added a second monitor for
as little as $150 total new ($60 64MB card, $90 radius 15" monitor), and
virtually free from spare parts (pull the card out of an unused machine and
borrow the monitor). Here are some examples (before buying anything, be sure it
is compatible with your system...these should work with most):

PCI Card @ $54
http://www.amazon.com/exec/obidos/ASIN/B0000630TB/newwriting/

NEC - Mitsubishi 15" Monitor @ $122
http://www.amazon.com/exec/obidos/ASIN/B00004SYNG/newwriting/

Dual monitors would optimally be the same (same card, same monitor brand and
model), but you can have broad variation. The first time I set up dual monitors
was on a mac 6110, and I was running a 21" NEC, then added a no-name 13" that
was barely kept from the dumpster. It was enough to get my palettes on, and it
certainly helped me work better -- even with the 21" monitor.

As far as the size of the monitors you use, it depends on how far you sit from
them. I can use two 15", high-resolution monitors and feel pretty comfortable
(and save a ton). Some people get all wild about a large monitor as the main,
but if you have .35 dot pitch moving up to a 21" screen, that really isn't much
better than a sharp 15" at .22. I often find I have to put larger monitors
further away, and I bet if i measured the field of view, the display size in the
long run would only be marginally different.

I have heard of single cards that support dual output (that isn't merely
mirrored) but I have never used one -- and actually have never seen one. Usually
I believe cards that have more than one port are often a convenience: they can
really support ONE monitor, but have more than one type of port so you can hook
in different monitor connections. I would check with the manufacturer before
plugging any thing in unless you are sure the card is meant to support more than
one monitor. If you don't check first, you may get mirrored display, or worse,
you can fry the card. I'd be careful, but not over-cautious.

In short, I recommend using dual monitors. But check out the specs first. If you
aren't sure, add a new card instead.


-
7. What is wrong with Ling's tools?
-
> I have seen you suggest that Ling Nero's tools shouldn't
> be used. Is there something wrong with them? Should i not install them?

First, there is nothing really 'wrong' with those tools. On the other hand, the
tools Ling supplies can't do anything Hidden Power can't--but Hidden power CAN
do some things Ling's won't.

The dirt: I am not fond of the way that Ling's tools came to light. I was
working with Ling to develop HPAII when she came out with her set on the sly,
while I thought we were working together. I feel it has led to boundless
confusion that was unnecessary. Had efforts been unified, I would have been able
to make a lot more useful things available to Elements users in a far shorter
amount of time. I would still gladly take on a partner if I could find one who
had the understanding of HTML, Elements, programming and image editing so I
could faithfully share secrets. I have some people that help test, and very much
appreciate their efforts. However, having all those skills is perhaps a little
rare.

My primary problem with those other tools is, as a programmer, I cannot approve
of the installation. As far as I am concerned the installation is most
problematic. If anyone else (third party) chooses this implementation of other
recipes that install the same way, it will lead to one bumping the other off.
That is not a good way to create a friendly installer. In best, non-competetive
situations, and without getting too in-depth, all of the people creating such
installers would need to maintain a single, unified linking file so that no
tools get dropped or replaced. If you have ever tried anything like this (i.e.,
seeking cooperation of a group), invariably things will get left off the linking
list, bumped, failed to update, etc. As I had already done what I didn't want to
to install my tools for the book--it was that or leave them out (you'll note
that the WOW book didn't even attempt to update their recipes)--encouraging
other people to re-write the recipes index file was just bad programming. As I
work for a software company, and to some measure customer service (not Adobe,
and having nothing to do with images), I tend to be very aware of potential
clashes. All this to say:

  If you have the tools from my book
  If you have Lings set
  and if ONE other person implements the same thing...

...you have a mess. All the packages will essentially be competing for the same
link. Install one, you lose the other. Add more people doing the same thing, the
problem multiplies. It doesn't matter if Ling keeps up her file clean and
updated and I keep up mine...there begin to become too many variables--and
people not playing nice. That's why I don't 'endorse' Ling's stuff. In other
words, it is possible to make it work, but unlikely that it would remain that
way in the long run.

There are a slew of other problems that are less likely to appear, but might
potentially, such as language version install problems (German file structure
for the program is different than English, etc.). There were a lot more
considerations to make, and I can't work with someone who ignores
problems--especially those that i know can be worked around.

Using the Welcome menu for the actions installer allowed me to install something
unique, so there were no potential problems with the tools from the book. All I
wanted was to keep people from having trouble. Though I thought I was working
closely with her, Ling ignored me, and dumped her stuff into the recipes without
first finding a better solution. I had hopes of working with her to do more
stuff, but I couldn't see divulging a lot more information, considering the
circumstance. I can't tell you how many emails I get now having to fix what is
broken when the two packages are installed--and how much time that takes away
from supporting new additions. It is easy for someone who knows how to manage
web page files, but not everyone has this type of experience. I can't tell you
as well how many enhancements I have not had time to put together--I've been
wanting to get out HPA4 for a while and a healing tool, but just haven't had
time (lots of deadlines). I would have been able without the additional support
demands.

What I really wanted to do (for the tools in the book) was install so that the
recipes showed up in the drop list. That would have solved all the potential
clashes, and made everything available through recipes -- no matter how many
vendors/action authors were using the solution. Adobe never released the SDK for
Elements 2...I suspect that was because they were looking for a more elegant
means of working the whole recipes thing, which I had hints of but apparently
they were unable to finish. Adobe had the good sense NOT to release something
which wasn't what they wanted. I was hoping to figure out how to handle using
the drop list, and finally have. Had Ling waited a few more weeks before
suddenly releasing her package (to my surprise), I would have been able to tell
her about it.

The Welcome menu has some positive features, and some drawbacks, but the biggest
positive was that it wouldn't cause conflict. The next biggest was the set
layout -- and that is also the biggest drawback. It is a big screen allowing for
a lot of buttons and  tabs...it is also a big screen obscuring the background. I
work on two monitors, so it was pretty easy for me to ignore the problem of the
palette size for the free tools. I've been using two monitors for quite a
while...so I guess i just ignored it.

So, I have always thought the recipes menu was better, but sloppy implementation
was worse. Finding a better solution sometimes takes some effort. Like a good
correction, it sometimes takes patience as well.

If there is anything that you think you see in Ling's stuff that you want to get
in Hidden Power Actions, I hope to have the time to accomplish that in the
coming months. Send your suggestions.


---------------
  Short Answers
---------------

-
1
-
> Is sRGB a Color Space or Workspace?

sRGB is a color space.

Workspace is a layout for your palettes -- a feature you'll find in Photoshop.


-
2
-
> I tried all the suggestions to get the tools to install.
> The installer doesn't work. How can I get the tools installed?

There are about 15,000 people using the tools at this point in time, so I assure
you it works.

Try this:

1. Create a folder on your desktop called test_install
2. Install the tools to that folder.

If you can't get this done, there is something wrong with your system, or
something is conflicting with the install. If you can complete this, installing
for Elements should work the same way -- but you target the program folder.


-
3
-
> I installed the Free Tools and have had fun with them.
> Then, I ordered The Hidden Power of Photoshop Elements 2
> and installed the tools. It tells me it's installed, but
> I can't find it anywhere in Elements, not in the HOW TO drop
> list, nor the Welcome menu.

The tools will appear in the How-To palette. To see an online demo, go here:
http://hiddenelements.com/tools.html

And click on the Tool Tour button.


-
4
-
> How do I optimize files so as to retain 
> quality but, reduce file size?

It isn't really possible to retain quality and reduce size--depending on what
you mean. Compression is really lossy one way or another in that information is
compromised when creating a GIF (color is limited to 256 colors instead of 16
million) or JPEG (image information is discarded to simplify image patterning).
You can compress images with a ZIP program that will not compromise image
information but images will have to be decompressed for use.


-
5
-
> The layer mask tool does not load the active selection and
> just gives me a blank layer mask that I can paint on.  Is
> this only for the free tool or is this a bug on my system? 
> Is it broken?

Actually it was designed to work this way to provide flexibility.

What you describe would be an easy addition, but it didn't seem something I
wanted to enforce. In other words, you may be coming to this tool with a
particular understanding of how you want it to wrok -- and what you describe
would necessarily have to be a different tool (perhaps a valuable one) that
would create the mask and do a few steps more. Not everyone will find that
useful, and my initial take was just to provide the mask (which you can't do at
all in PE2 without the tools). The current functionality does not preclude you
from using it as you suggest. As the selection should remain active, Fill (with
Black) should mask the selected area. Inverting the selection and filling will
mask the area outside the selection.


-
6
-
> Why didn't you include the free tools with the book?

Some of the free tools were actually built after the book was published, so it
wouldn't have been possible to get them in. Other tools I may have known about
but didn't include on purpose. For example, I actually didn't use Layer Masks in
the book (used another method) because Adobe could possibly remove Layer Masks
entirely for PE3...who knows, they tried to in PE2, but didn't go too far. I
tried to build in techniques that were valid in PE1, PE2 and that would be valid
in PE3...the free tools are free, because I am not sure if all of them will work
in future versions -- at least that is how I looked at it. Adobe can't, however,
really remove the layer clipping property, which I use more for masking (or they
can, but it is less likely). My guess is they will expand with PE3 a little now
that PS CS is out, but it is hard to tell after watching them limit so many
functions in PE2 (and functionally breaking the How-To palette as far as utility
is concerned).


-
7
-
> Last issue you said we could create actions for use
> in Elements using the PS6 demo. Where can I find this PS6 DEMO?

  Mac:
  http://www.jumbo.com/mac/files.asp?x_fileid=195800&S=17063

  PC:
  http://www.tucows.com/preview/214261.html
  http://www.unizar.es/enfez/software/fwin9x.html

  OK?

ANYONE who creates an interesting action and wants to make it available to other
users, let me know and I'll post the action for download on hiddenelements.com
on the tools page!


-
8
-
> I would like to know, is it possible to change the
> colour of a drop shadow or outer/inner glow like
> full Photoshop? For example, from black to blue.

I might have forgotten to put it in the instructions...however, if you look at
the Effects tab where the HP tools are, there is a little color swatch. After
running the action to create the effect, click the swatch to change the color. I
believe it describes this in the alerts in the action...doesn't it?

Glad to hear from someone using those effects!


-
9
-
> In splitting an image into RGB channels, why is the HUE value 120
> for each channel? Is there some ratio at work here?

The color wheel is a circle, measured in degrees. A complete revolution of the
wheel is 360 degrees. a third of a turn gets you from red to green to blue.
360/3 = 120 degrees.

Was that clear or do you need more?


  Let me know you read it...

--------------------------------------------------------
  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 © 2003 Richard Lynch
------------------------------

--------------------
  Hidden Power Monthly
  October 31, Vol.7
--------------------

The Newsletter for Elements Users


--------------
  In this issue:
--------------

Links
Catching Up
Long Answers (7)
      Lots of questions on Color Management this month!
           1. How To Embed Printer Profiles
           2. Why Use Elements OR Photoshop?
           3. Using No Color Management
           4. Book Recommendation for Beginners?
           5. How do I make a drop shadow?
           6. I Don't Get Better Color with Color Management?
           7. How Do I Match Color On Screen?
Short Answers (8)
      Using Photoshop books with Elements? Get the scoop.
      Other info on scaling/transforming selections, levels
      and curve corrections, editing paths, getting a PS6
      demo for your action writing, and what unzip utility
      to use.


--------------------------
  LINKS
--------------------------

The Hidden Power website:
http://hiddenelements.com

The Hidden Power forum:
http://www.retouchpro.com/forums/forumdisplay.php?s=&daysprune=&forumid=142

The Hidden Power newsletter archive:
http://groups.yahoo.com/group/hpe

Free Hidden Power Tools:
http://hiddenelements.com/freetools.html

     Or from Adobe:
     Mac: http://share.studio.adobe.com/axAssetDetailSubmit.asp?aID=7531
     PC: http://share.studio.adobe.com/axAssetDetailSubmit.asp?aID=7516

Get the Hidden Power book:
http://www.amazon.com/exec/obidos/ASIN/0782141781/newwriting/

Buy Elements:
http://www.amazon.com/exec/obidos/ASIN/B00006ANW9/newwriting/


--------------------------
  CATCHING UP
--------------------------

Still working on the new book The Hidden Power of Photoshop CS, but winding it
down.

See the book here:
http://www.amazon.com/exec/obidos/ASIN/0782142559/newwriting/

Photoshop CS:
(full license) http://www.amazon.com/exec/obidos/ASIN/B0000DBOAX/newwriting/
(upgrade) http://www.amazon.com/exec/obidos/ASIN/B0000DBOBZ/newwriting/

This book in no way changes my interest in Elements, in fact it suggests to me
that people using Elements are the ones who really are in need of the most
assistance, guidance and tools! I'll be dedicating some time to a Hidden Power
update in November.

I again ran out of month to finalize the Healing tool. It is done, tested,
works...I just need to make an installer and send it off to a few more trusted
testers. I hate to promise November, but will be surprised myself if it doesn't
get done! Thanks to those who have even offered help. Apologies to those I have
not gotten back to personally. It is such a hectic time...

IF YOU HAVE QUESTIONS: please either go to the forum and ask them, reply to this
newsletter, or send them to me directly. It is easiest to get things in the
newsletter if you just reply! The forum will get you quicker answers most of the
time.

Feel free to let me know about tool, action and other Elements enhancement
requests!


--------------------------
  LONG ANSWERS
--------------------------
1. How To Embed Printer Profiles
2. Why Use Elements OR Photoshop?
3. Using No Color Management
4. Book Recommendation for Beginners?
5. How do I make a drop shadow?
6. I Don't Get Better Color with Color Management?
7. How Do I Match Color On Screen?

-
1. How To Embed Printer Profiles
-
> Though I have been through your section on Color Management, I
> can't see how to embed profiles with my image that are not sRGB
> or Adobe RGB. Can you expand on embedding profiles in Elements,
> or isn't it possible? I want to make some prints at COSTCO and they
> suggest using a specific profile.

I am not big on embedded profiles, but you can do it if you want. I'd be glad
for some feedback if you try the technique. Let me know what happens when you
test this out.

You can assign profiles using Print Preview.

1. Open the Print Preview and check the Show More Options box.
2. Choose Color Management from the drop list.
3. Select the printing space (the following is from Adobe's help):

"*Choose Same As Source if you want the printer to print the color of the
image's
   color profile without converting it. This option will not take any printer
profiles into
   account.

  *Choose Printer Color Management or PostScript Color Management if you want
   to manage color conversions using the print driver. PostScript Color
Management is
   only available when printing to a PostScript device.

  *If available, choose a predefined color profile for your printer. These
profiles are
   installed with graphics applications and print drivers. Choosing a predefined
profile
   will result in an automatic color conversion when printing."

It would seem the last one is the one you want.

4. Click the Print button.
5. Set up the Print dialogue by choosing the proper Printer and Presets. select
other
  options (number of copies, etc).
6. Click Save as PDF.

The profile will be saved with the PDF, which should be able to be transported
to the desired printer. You may need to install a postscript driver in order to
access the profiles you want to use--if you are embedding a profile for use with
a service. You can download Adobe's postscript print drivers from their site. If
you need to change the format of the resulting PDF file, you need to change
color management to retain the embedded profile while doing a conversion of file
types.

Of course, many will claim this is impossible...though it seems to be built
right into the program--and may be considered somewhat hidden, and mostly
unadvertised.

Do let me know if you have trouble with this. There are other possible
solutions.


-
2. Why Use Elements OR Photoshop?
-
> Photoshop is pretty cool photo-editing package. I've been using it
> for a while. I recently got a new camera that came with Elements, and
> it seems to have fewer features. I dont really care for photo editing
> and I used it very rarely. Why should I bother with Elements?

If you aren't using image editing, you aren't getting the most out of your
digital images.

Elements has fewer features than Photoshop, but that doesn't mean it is an
amateur or subordinate editing program. Photoshop has a lot of bells and
whistles that people who are not professional graphics people (designers,
pre-press) may never need. If you are editing digital images, it is a great
package without a lot of the bulk that can actually get in the way or be
daunting. many of the features commonly believed not to be in the package are
really there--either in hiding or other forms. My book and tools can help you
get to them. The functions include Curves, channels, vector editing, playing
actions and creating CMYK files. Most people will tell you you can't do any of
these with Elements. It just isn't true. See the website for more info, and some
free tools for elements users: http://hiddenelements.com . I use elements at my
regular job as a professional, by CHOICE. I used the extra money in the budget
that would have gone to Photoshop for a system upgrade.

In contrast to your stance on image editing, I use image editing ALL THE TIME. I
don't know if there is an image that I print which is not in some way adjusted
for color or sharpness. Image editing is not just transposing heads, but getting
the most of the images you take -- every day. It would be a rare case that the
images you take are perfect. You might
  want to do some simple adjustment, remove some dust or debris, or even just
crop an image...With the opportunities offered to improve images (without
chemicals and bother like one has in a darkroom), I am not sure why you would
want to forgo the opportunity. The digital darkroom is just a superior means of
enhancing your results, and once you get the hang of it, it is a great way to
enhance even casual shots quickly. There is nothing along these lines that
Elements CAN'T do.

I use both Photoshop (at home) and Elements (at work) daily. If you don't need
to do volume CMYK, 16-bit editing, heavy web design and action recording, you
probably don't need to spend the additional money on Photoshop and the costly
upgrades that go with it (the Photoshop CS upgrade is 3 times the cost of a new
Elements license).


-
3. Using No Color Management
-
> > Embedding profiles is far less important than good
> > correction. Choosing your working space might be a
> > little over-rated as well.

> What you say about color management holds true... unless
> you start using third-party papers or third-party inks. When
> you use the default papers and inks, you are using color management,
> whether you do so consciously or not. When you select the paper
> type, the printer driver (at least with Epson printers) automatically
> selects the correct profile.

I think it holds true anyhow. I didn't say you wouldn't use color management (at
some level you have to, but it is thankfully a transparent one), what i said was
turn it of (No Color Management is Adobe's selection). This means to me: don't
embed a profile. My suggestion is to not do it until you want to learn about it.

What you do in your printer driver is not the same as damning your image with a
profile (ok, that's a little strong)...you don't key the image to a specific
printer, you tell the driver where you are going. That same image won't need to
be confused if going to another printer (or paper, or ink), the driver should
take it there. Putting the
  profile in the image is making it a backseat driver -- as far as I am
concerned. It seems the manufacturer and the device should be better geared
toward getting a result than some profile I create, unless I do it with some
very good print calibration package. Not everyone is interested in that (barring
people who get paid a lot of money for it -- and they'll be the first to tell
you I am wrong). To me, it is about getting results. Most people solve initial
problems by REMOVING the complexity of profiling in the image.


-
4. Book Recommendation for Beginners?
-
> Richard,
> I have your book and it may be a little over my head
> as i am an absolute beginner. What book would you
> recommend for beginners?

First thing, the manual. I know that may sound hokey, but there is enough there
to get you started using the tools and understanding how they behave. Make a
list of the tools you think you need to learn and tackle 3 or so a week -- just
to get familiar with them.

Once you have a good bunch of tools under your belt, make a list of projects you
want to complete. This might start with some simple things like removing red-eye
from a few photos or doing some basic color correction. You can make these
projects up from things you actually want to do. Don't start with really hard
stuff like "Make my husband/wife look like Robert Redford/Holly Berry", try to
pick some realistic, simple corrections...use the internet to search out some
tutorials, and employ the tools you've got in your belt to make the corrections.

Once you've gotten this far, ask questions about more interesting projects, and
get a good book (I'd say "you have one" but have to leave that to you to
decide). Many books are written so that you will outgrow them, some are not. I
wouldn't waste money on the former.

I guess starting out warrants it's own tutorial...I'll hopefully have some time
around December to take that on in some fashion. If anyone wants to contribute
questions for ABSOLUTE BEGINNERS, please send them to me: thebookdoc@....


-
5. How do I make a drop shadow?
-
> I am just looking to make a drop shadow, but don't see how to do it.
> Can you give me a hint as to where to start?

There are actually several ways to do this, both using Hidden Power tools and
not. The idea in any case would be to get whatever you want to create a drop
shadow behind separated from the rest of the image by selection, and then apply
a Layer Style or the Hidden Power Drop Shadow tool.

For example:

  1. Use the lasso to select the object.
  2. Copy (Cmd/CTRL+C)
  3. Paste (cmd/CTRL+V). This creates a new layer with the copied content.
  4. Open the Layer Styles palette (choose Layer Styles from the Window menu),
Select Drop Shadow from the category list, and click one of the styles.

Customizing drop shadows is a bit more involved. My free tools (Hidden Power
Actions III) can help you create these more complicated effects quickly. The
tools create the shadow in a different layer so you can manipulate it
separately, rather than depending on the static Layer Style to do it for you.

Get the tools from the Adobe site here, if you don't already have them:

  Mac: http://share.studio.adobe.com/axAssetDetailSubmit.asp?aID=7531
  PC: http://share.studio.adobe.com/axAssetDetailSubmit.asp?aID=7516


-
6. I Don't Get Better Color with Color Management?
-
> First of all, let it be understood that I am a techno-idiot.
> That being said, I thought the main purpose of doing color
> management was to get the screen image and the printed
> photograph to match as closely as possible. You seem to suggest
> I don't have to use it, even though all the other books seem
> to say you do. Please, what am I missing?"

First, I've been getting results with images since before there was such a to-do
about color management (or Photoshop), having worked with digital images since
about 1984 (really 1981, but not in a professional setting, or with professional
graphics equipment). Not all authors have had the same opportunity.

The hope, idea, and theory of color management is that it will produce better
color, but the relative complexity of getting it to work correctly is a hurdle.
Some jump it easily, and most do not. The FACT is: If you have done great
correction to your image, the difference in results with color management
between devices should be fine tuning (the difference between the CMYK ink color
from one device or manufacturer to the other, and paper types and qualities from
one to the next are keys for these adjustments -- effectively changing what
you've corrected in your image behind the scenes). If you are getting wildly
wrong results, you need to correct a more fundamental problem before achieving
better results. You can get great prints with AND WITHOUT color management
playing magician behind the scenes.

The problem is, defining color management incorrectly is worse than not using it
at all, and defining it will USUALLY require understanding why you are using it
and exactly what you want to accomplish. Just turning it on doesn't make it
work. It needs the right settings and the right profiles, which means you need
to be able to set it up right. and, regretfully, that part isn't easy.

There is all sorts of conflicting information about color management and what it
does. I think you'll find a sensible approach will get you further with less
groans and wasted paper. When you are ready to graduate to using a complete
color-managed workflow, there will be time to set one up later to help improve
your results when you have time to study up and implement it correctly. However,
even that may not improve much if you know all your options.

In a way, if you don't know what color management is doing, working with it can
be like leaving a scalpel in reach of an infant. It is a fine tool, as long as
you know what to do with it. The kid may grow up to be a great surgeon, but
right now they will possibly cause more damage than good.


-
7. How Do I Match Color On Screen?
-
> My output colors don't match my screen.
> Do you have any idea of how to
> correct this problem with the color?
> A friend of mine has been telling me to use
> Color Management, and sort-a making fun
> of me that i don't.

One of the hardest (perhaps impossible) things to do is consistently match your
RGB view on screen to what you see in print. RGB is a different color set than
CMYK, based on similar but reversed theory. RGB being based on light rather than
absorption is more efficient. In short, there is not a 100% accurate conversion
between RGB and CMYK NO MATTER WHAT YOU DO. You can get better results (and
worse ones), but you need to have a system.

  1. Calibrate your monitor (Adobe Gamma) and create a monitor profile.
  2. Check your printer manual for recommended printer settings and
  media (don't expect to get great results from paper not made for
  printing).
  3. TURN COLOR MANAGEMENT OFF. (In my estimation, if you can't get
  decent results without it, you can't improve them with it).
  4. Correct your image to how you would like it to print (keep in mind
  what you see on screen is RGB and perhaps more vivid than print).
  5. Print using recommended printer settings.
  6. Check your print against the screen.

At this point, I would try making LAYERED corrections to the image to best make
it match the result in print. Optimally this will use curves, and perhaps
multiple corrections.

When you get the screen looking like the proof, SAVE THE ADJUSTMENT LAYERS.
These can be used on other images to give you an idea of what the printout of
other images will look like. You can apply them by dragging to the image you are
about to print. Shut them off before printing. Add adjustments with the print
adjustment layers on to affect change in the output. If you add adjustments shut
off ONLY the preview layers before printing.

Once you can get results this way, then I would start adding back any color
management if you are so inclined. Color management and profile use is not
necessary for getting better results.

Usually you can get back at a person using color management by asking them why
they made a particular choice, or exactly why it is superior. Some will know, or
at least have an explanation, but most won't. I learned technique before there
was formal color management (or adjustment layers...um, or layers), and really
HAD to do it without. Since, I have not been convinced that it is superior.

The weighted difference toward promoting color management strategy is more
likely that there are a bunch of people making LOTS of money training people to
use it and providing expensive equipment and profiles. The time they spend
making not using color management as dispicable as dandruff (quite a marketing
scheme there...) is well spent on return for their investment. They have reason
to amke a clatter. I can't make much telling you color management isn't all they
say, as there is nothing to sell...my trumpet can't play over the orchestra.
I've helped more people cure problems by turning it off than stepping through
how to use it.

This is not to say management is bad...it can potentially do good things.
However one gets results with consistency is right. There are benefits to
embedding and not. It is certainly nothing to take or dish out ridicule over. I
am of the opinion that fundamentals work before enhancements. I consider
increased levels of color management enhancement. Some enhancements you never
really need, if you know the right technique.


---------------
  Short Answers
---------------

-
1
-
> When doing levels corrections for color (page 95+)
> What am I looking for as you move the middle slider when
> adjusting levels for individual RGB channels? Or, is it best
> just to leave it alone?

Unless you know of a specific target you are trying to achieve, I would leave
the middle slider on the separate channels alone and move the RGB composite
middle slider to adjust the brightness -- AFTER correcting Red, Green and Blue
black and white sliders. Other corrections of the middle sliders will just be
guessing, and that is also something you are probably better off correcting with
Curves (page 99+).

-
2
-
> I now use the HPE curves function for tweaking my images - great
> tool! One thing that would be excellent would be to include a drop-
> down box on the curves window to allow selection of the individual
> RGB channels, like in the levels window. I know that I can do an RGB
> separation and then apply curves to each layer separately, but a
> direct choice would be much more convenient. Any chance that this
> might be possible?

I have provided access to a Curve tool that already exists in Elements. It is in
Adobe's code and is created by Adobe for use in Elements. I might be able to
create a new interface, but have not tested those possibilities. The advantage I
see to NOT going in that direction is that all the code you use has been tested
by Adobe...I just help you access it.

Everything that is convenient is not necessarily better. Learning to work the
Hidden Power way actually gives you a leg up over people who use more automated
tools as you have to really understand what you are doing. when you do, the
tools become less important.

-
3
-
> When I make a Marquee tool selection and let go of the
> mouse button, I can't resize the selection to fit the
> object I need and have to start again. Is there a way
> to change the size of the selection?

Do this (with the selection still active):

  1. Create a new layer.
  2. Fill with white and set opacity to 0%.
  3. Resize using transform.
  4. delete the layer created in step 1.

You need the layer content to allow you to use transform to resize...but you
don't need to see it or keep it once you've made use of it.


-
4
-
> In the next version of the Hidden Powers cd, I would like
> to see paths, and Alpha channels be added to it.  Also make
> paths into a selection feature could be very helpful to
> alot of Photoshop Elements 2.0 users.

If you mean a pen tool, that will be unlikely, unless Adobe adds some pen tool
capabilities. However, I show how to edit paths in the book, and how to edit
them using selections (see chapter 8)...I also show how to save and load alpha
channels (which you already have if you have PE2...instructions on page
161-162). Paths to a selection (and type to a selection) are in the Hidden Power
tools as well (see Chapter 8). I think I've got you covered!


-
5
-
> I've been using Katrin Eismann's book and yours together
> and I find it a powerful combo. One thing I can't seem to do is
> Transform a selection. How do I do that?

See short Answer #3!

I'd be glad to field any other questions having to do with using specific
Photoshop books along with Hidden Power, if anyone has the time to ask.
Personally the Eismann book
(http://www.amazon.com/exec/obidos/ASIN/0735713502/newwriting) coupled with mine
is a pretty powerful combo for advanced Elements use. I've heard from many users
that use them together.


-
6
-
> In your newsletter I read:
> PS6. This demo does not expire, is free, and will allow you to save
> actions which you can then play in Elements using the Hidden Power
> actions III interface.
> I searched for that free demo version of Ps6, but could't find it.
> Can you give the URL?

Regretfully there is no URL. Adobe removes older downloads. There is a
possibility that you can find the download on freeware CDs, perhaps a shareware
site, or other resource. I know other users have downloaded it and have it
available. if some of those would come forward with where they got it, I'd be
glad to list in the coming newsletter! Let me know: rl@....


-
7
-
> had some trouble unzipping the free tools on my Mac. I tried Maczipit, and it
> worked. I also used Aladdin 6.5.1 and it worked. The one that failed was
> Aladdin 6.01.

All decompression utilities are not alike. Even if they say the 'unzip' they may
unzip using differing technologies. Thanks for the info!


-
8
-
> Thank you Richard for another great newsletter.
> I found many items to be very helpful.

Keep asking good questions. That makes it easy!


--------------------------------------------------------
  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 © 2003 Richard Lynch
------------------------------

--------------------
Hidden Power Monthly
September 29, Vol.6
--------------------

The Newsletter for Elements Users


--------------
In this issue:
--------------

Links
Catching Up
Long Answers (8)
Short Answers (8)


--------------------------
LINKS
--------------------------

The Hidden Power website:
http://hiddenelements.com

The Hidden Power forum:
http://www.retouchpro.com/forums/forumdisplay.php?
s=&daysprune=&forumid=142

The Hidden Power newsletter archive:
http://groups.yahoo.com/group/hpe

Free Hidden Power Tools:
http://hiddenelements.com/freetools.html

Get the Hidden Power book:
http://www.amazon.com/exec/obidos/ASIN/0782141781/newwriting/


--------------------------
CATCHING UP
--------------------------

Didn't mean to miss the August issue, but too many things in the
fire -- one of them had to burn. I caught up a lot of questions here,
so there shouldn't be any that haven't been answered that were asked
since June!

Have been working on a book for Photoshop users based on similar
techniques to those in Hidden Power for Elements. Also was working on
a column featured in Digital Photography Techniques.

A Healing tool will be made available for Elements later this month.
I am looking for a few testers who are interested and have some idea
what the tool should do. If you want to test, send me an email with a
little bit about what you want to use the tool for. rl@....

IF YOU HAVE QUESTIONS: please either go to the forum and ask them,
reply to this newsletter, or send them to me directly. It is easiest
to get things in the newsletter if you just reply! The forum will get
you quicker answers most of the time.

Feel free to let me know about tool, action and other Elements
enhancement requests!


--------------------------
LONG ANSWERS
--------------------------
1. Sharpening
2. Adding Captions
3. Extracting Wispy Hair
4. Getting Impressive Results
5. Using Blend If with Elements
6. Learning Photoshop Elements Quickly
7. Using the Fade Tool
8. The Book Steps Aren't Right!

-
1. Sharpening
-
> What is the best way to sharpen 10D images in PS Elements 2.0.
> Everyone talks about certain actions on this forum but do they work
> with elements?  Are there some other steps to sharpen photos that
> work for you all?  Thanks in advance.

The way to sharpen images taken with one device or another should be
relatively the same.  That said, there are many methods and means of
targeting and applying sharpening...and none are magic.

Most of the best/most advanced sharpening processes will use more
than one technique. Most often at least one of these techniques will
confine the result of the mask to an edge, rather than performing a
general sharpening (which may increase image noise). Edge masks can
be created from tone, color or both, using find edges.

The original process of sharpening that the Unsharp Mask filter is
named after uses a blurred, inverted duplicate of the original image
to pick out the edges. Try this:

1. Flatten a copy of your image and duplicate the background.
2. Invert the image (Cmd/CTRL+I).
3. Blur with Gaussian Blur 5-10 pixels.
4. Set the layer mode to Overlay, and reduce opacity to 50%.

This increases the contrast in the highlight and shadow for the image
(side effect being flattening the midtones). It can sharpen up detail
in high contrast images (wedding pictures) and is best used with a
midtone mask (rather than edge masking).

The point is, the applicability of the technique really depends on
the image and HOW you want to sharpen it.

Plug ins and other tools are not magic, though they may increase
utility. Plug ins like focalblade obviously rely on edge masking
(note the special effects), but call into question the power of
advertising when the original has more intense jpegging than
the corrected image (suggesting reverse engineering -- as may be
evident in the feather example), and when they don't give you
reliable settings to achieve the ends they show.  And I don't know of
a plugin that doesn't require learning how to use it.

My suggestion would be to learn the technique and the power of the
program you are using rather than depending on something else to do
it for you. all you need are edge, tone and color masking techniques,
and a basic understanding of a few sharpening processes (and which
works best in particular situations).

Hope that helps. Find some free tools for elements here:
http://hiddenelements.com


-
2. Adding Captions
-
> How do I add text to a photo, ie not
> on it but under it in a clear blank
> space -  I think its called a caption.
> I need to know so I can export a
> photo plus the text to a publishing
> document.

Usually captions will be assigned in a layout program, as type in
Elements (and Photoshop) can be a little tricky to handle. If you
really want to export with a caption, change the background to white
(press D for default color), then expand the canvas down using Canvas
Size rather than Image Size. Click on the top center box in the
dialogue and change the height of the image enough so your caption
box will be created at the bottom. Now select the type tool and
add your type by clicking on the image to create a type layer and
typing the text.

If you have hidden power tools from the book, it is HIGHLY
recommended that you convert the type to vectors and leave them in
the image as vectors for print. This will help keep the type sharp.
Save the file as an EPS (encapsulated postscript).

Again, though you can do this as outlined, usually the layout program
is considered better for handling type matters.

Hope that helps!


-
3. Extracting Wispy Hair
-
> My experience with extracting wispy hair
> is that you need Photoshop and to do it right
> you'll need a plug-in program such as Knock Out 2.

I disagree. To do it right you'll need patience. Knockout and other
such masking programs don't do any magic, and they cost quite a lot.
All they really do is allow you to select a color range to knock out
(or something similar to that). I've never used a program that
doesn't make a mask I have to adjust. If you see areas of the image
that are over the type of background that are easy to extract, I'd
learn to use either Extract or Blend If (I prefer the latter)
and save the cost. What I'd be more likely to do is some careful
manual masking, and perhaps trim some of the wispy hair.

Most images not taken specifically with the purpose of cutting the
hair from the background will prove difficult or very difficult to
extract -- no matter what you use. Learn to create manual masks
either using alpha channels or via Quick Mask. Don't be afraid to
adjust those masks. Hidden Power's ability to separate color and
target zones (Blend Mask) should come in handy for speeding up the
process.


-
4. Getting Impressive Results
-
> How can I quickly get impressive results like this:
> http://homepage.mac.com/gapodaca/digital/blonde/index.html
> I heard this is possible using an airbrush?

Don't go assuming you get those kind of results (good or bad) with 10
minutes using the airbrush (not really the right tool). You will
probably need an impressive array of tools and techniques to come
close to those results. Not to mention a few hours.

At the same time, not all of the result may be what you want/need to
accomplish. There are certainly some impressive enhancements (e.g.,
pore reduction, which can be accomplished over broad areas at times
using the right techniques), but, ahem, as a rendering of reality...I
would not pose these as a study of the human animal. What is more
impressive is, perhaps, the creative visualization needed to achieve
the result, than the ability of these images to 'restore' reality.

Clearly this image serves a particular purpose. Not all images need
to look this way nor need to be so heavily manipulated, and some
might do more to retain the 'reality' of the subject. 'Tis a matter
of taste (so long as you have the vision and technique).

Definitely NOT just the airbrush.

Don't fast forward to the end, enjoy the movie!


-
5. Using Blend If with Elements
-
> I saw a technique that uses Blend If,
> and I am wondering if you know a way
> to mimic this functionality in Elements
>
http://www.creativemac.com/2003/07_jul/tutorials/psgradient030723.htm

Actually, Blend If happens to be one of my favorite tools in
Photoshop, so it was one of the first things I duplicated in
Elements. In fact it is the basis for Blend Masking, which you can do
in Elements. I call my version Blend Mask (p. 84-88).

There are ways to work around this Blend If thing to some extent, and
I am not sure this application in the tutorial is really anything
that you'd want to use Blend If for. One way to achieve the same
results as the tutorial is to create use a duplicate of the type
layer to create a mask.

1. Make the gradient mask shown in the tutorial.
2. Make the type layer and shut off the visibility (Adobe eye) on the
new layer.
3. Duplicate the type layer.
4. Group the gradient mask and ONE of the type layers.
5. Merge the layers grouped in step 4
6. Load the duplicate type layer as a selection (press CTRL/Cmd+click
on the type layer).
7. Invert the selection.
8. press delete. As long as the gradient layer is still active, this
will delete the area around the type.

The tutorial does not show an optimal use of Blend If, and really the
selection using it according to the article seem a little random and
awkward to me. If you are creating the elements (type in this case)
better to use that element to make an exact selection.

Actually, you really don't need the extra type...You can simplify
this tutorial to:

1. Make the gradient mask in the tutorial using the color you want
the type to be (rather than using black).
2. Make the type layer and shut off the visibility (Adobe eye) on the
new layer.
3. Load the type layer as a selection (press CTRL/Cmd+click on the
type layer).
4. Invert the selection.
5. Press delete. As long as the gradient layer is still active, this
will delete the area around the type.

I knew something bothered me about that technique. I've noticed a lot
of tutorials make things harder than they really are and don't really
demonstrate what they need to.

BTW -- yet another way to get the result of this tutorial:

1. Create the type as a selection.
2. Fill with the desired color to transparent gradient.

Now I'm not really sure what this tutorial had to do with Blend If at
all.

What Blend If is really good for is making pixels in a layer
TRANSPARENT according to what is in the layer or what is in the layer
below. NO OTHER FUNCTIONALITY does this without masking.

The actual Blend If settings CAN be edited in Elements, but holy-cow
it is a production. Like I said Blend Mask is a good work-around, and
you can adjust it so it works for any color or tone -- just like
Blend If.

To do this WITHOUT Bleind If or Blend Masks, you coult use Layer
Masks (which you can get from the free tools on Adobe Studio
http://share.studio.adobe.com/axBrowseSubmit.asp?
d=164028&dn=Richard+Lynch ) You can do all sorts of things with masks
to make them function like Blend If. For example:

1. Open an image (a frog or animal or something)
2. Select All
3. Define a new pattern (Edit>define Pattern)
4. Create a new layer
5. Add a Layer Mask (using the free Hidden Power tools)
6. Fill the mask with the pattern (Edit>Fill>select the pattern just
saved)
7. Fill the layer (not the mask) with, say, blue.
8. Shut off the background view.

You should end up with a blue negative of the frog. Think about that
one and you'll come up with some rather interesting methods for
targeting color application. For example, say you wanted to turn just
the midtones blue...you could duplicate the image and create a
Gradient Map that has 3 color tabs: black on either end and a white
tab in the middle. Then apply this to the duplicate image, create the
pattern from that and use IT for the mask fill. Miraculously, only
the midtiones will be filled with blue. In this case, the Gradient
Map is acting like Curves as I use them in Blend Masking.

Advanced stuff, but certainly in the realm of the type of thing you'd
want to accomplish with Blend If -- but you get the result without
reaching for anything but free tools.


-
6. Learning Photoshop Elements Quickly
-
> How do I learn PS Elements Quickly?
> I need to be proficient as soon as possible!

TIME is the main ingredient in the soup of proficiency. As an author
of Photoshop and Elements books, I'd say time is the one thing people
do not allow themselves. To really get digital image editing takes
not weeks or days or months, but, regretfully, years. I have had many
readers write me notes just expecting too much (e.g., "Mr. Lynch, I
am a beginner and I bought your book and read the whole thing. While
I learned a lot but can't seem to get the results I think I can. I've
been at it over a month already!). While a better book should help
you distill months (and perhaps even years) of learning, I am still
learning every day -- for each of the 11 or more years I have
been working with Photoshop. A snip of theory here, a technique
there, a creative way to apply a tool...You become expert by using
the program and discovering ways to do things. Books and tutorials
help. Looking at an image and visualizing what you want to do and
thinking up solutions is where you retain the effort.

If you are serious about learning, get books that give you images and
allow you to work through examples from the book. Do the book image
then one or two of your own. Work on just one image a week to develop
your workflow from capture through print...and that's where you'll
establish your style.

But you won't pick it up 'quickly' just like you won't become an
artist in a few weeks, or a photographer, politician, musician,
engineer, or RICH...unless you are very, very lucky, or very, very
gifted.

Setting realistic goals for your own achievement may be a better idea
than asking someone else "how long?"


-
7. Using the Fade Tool
-
> HPA III has a Fade effect? Richard, I am
> sending you a big big hug! THANK YOU! Now
> I have to stop jumping up and down and
> read the rest of the list!

Hey, Fade was no big deal, really...Understand that all Photoshop
does is treat the image like it was layered and blends using opacity.
What the Hidden Power tool does (that even Photoshop's Fade does not)
is work after you apply ANYTHING.

1. Apply the effect.
2. Click FADE. The program will duplicate the current state over a
duplicate of the state prior to the effect applied (step 1).
3. Adjust opacity.
4. Option: adjust layer mode.

This is exactly what Photoshop does -- though you can't see the
layers in Photoshop, and Photoshop won't apply Fade to any action.

I really should have put some instructions with that one...I don't
know where my head was. However, use it a few times and you'll catch
on. It may be slightly buggy with repeated application...something
I'll work out. However, it is good to hear the tools are appreciated!


-
8. The Book Steps Aren't Right!
-
> The number of errors in your book make
> it impossible for me to follow. Why
> didn't you put exact settings for each step?

Well, there are typos, and most should be published on the
hiddenelements website by now. These are unavoidable in publishing.
That's why I have a newsletter, a website and a forum. Can you name
another book that does this?

For most of image editing we are talking horseshoes or handgrenades
rather than sniper bullets or shoing nails. There are not always
absolute settings, and sometimes it is BEST TO EXPERIMENT. If
something completely blows up, I would worry about it...if not, see
if you can weigh the difference between the choices and come to a
better understanding. My book does ask readers to think, or it'd be a
lot longer...and the answers aren't always very easy. Take your time
going through and don't feel bad about going back! As I have said
many times in answers to various readers, there is about 10 years of
digital image editing experience there in that book -- if you got it
all in a few weeks of reading it would almost be embarassing for me.
Not that I tried to make it hard, it just isn't all black-and-white,
and it isn't all easy.

I hope the book is not proving ardorous, and hope you see the value
of trying to convey concept -- which will be more broadly applicable
to images you work on in general. I understand the need for more
detail, and am glad when readers point out omissions and details, and
I'm you asked the questions. There is always a place to improve, and
these spots do show some things missing. The point of leaving them
out (which was not intentional) is that the exact details aren't
always important: the reader should weigh the options and work to
grasp ideas. It is a lot to ask, I realize, because the options
swiftly mount, and the concepts aren't always easy. You are asking
the right questions, and are observing the details, which is good.
Have faith that over time your understanding will grow.

The book is not for absolute beginners...A background in images from
working with photography or a little time spent with Elements to
learn the basics of tool use is really necessary to get what I set
this book up to do.


--------------
Short Answers
--------------


-
1
-
>I just joined this group. It looks like
> there has been no activity since July
> 17th. Is that so?

Sort-a. Lots of stuff going on behind the scenes! This is more of a
newsletter than a discussion group. It should appear once a month.


-
2
-
> I have Photoshop Elements I and don't
> have the Hidden powers book or CD.
> Will I be able to apply the information
> in this group to my program?
> I am presently working on old black and
> white photos, some of which are very poor.

I would hope the information would be applicable in many situations.
While there may be times that I discuss specific tools, the hope
would be to answer ALL interesting questions. If you feel your
question is not being answered, ASK IT. If you are not sure how it
applies, ask additional questions for clarification.


-
3
-
> Can you tell me how to record an
> action using PS Elements 2.0?"

Well, yes and no. The only way that I have been able to accomplish
this is so cumbersome that I don't know if it is worth attempting to
explain.

The best solution I have come across is finding a DEMO version of
PS6. This demo does not expire, is free, and will allow you to save
actions which you can then play in Elements using the Hidden Power
actions III interface.


-
4
-

> Is there
> something that is available but with a fee that will help
> me with PE2? I searced through the web site and didn't
> see anything.

If you have the book (http://hiddenelements.com) it comes with a
bunch of tools. If you got the free tools for actions, that will come
with additional tools and 87 installed actions, etc. There is also a
batch addition -- go to the freetools page and read from the top. The
batch addition adds some things to batch functionality with one
simple file that you swap into elements.


-
5
-

> I'm trying to calibrate my iMac monitor and in the book
> on page 18 at the bottom, there is a note that reads
> "...I'll walk you through the Mac OS9 version, and you
> can adapt this to your computer."  I can not find where
> the OS9 walk-thru is in the book.

That, right there on the page, is the OS9 walk-through for Adobe
Gamma -- I did the screens on OS9. It looks like the PC interface and
functions on Mac. There are some differences between this and OSX,
which uses Apple's built-in calibration found in the System
Preferences. If you don't have Adobe Gamma, try looking in the
Control Panels (OS9) or on the Elements CD. If you still can't
find it, try me again.


-
6
-
> Does the book tell us how to run actions?
> I am really wanting to try this out.

Actually the readme files that come with the free tools tell you how
to run actions. None of the free tools are covered in the book, as
they came after publication. There is a discussion list on
RetouchPro.com where we discuss tools and uses. You can ask questions
here as well.

The book has a lot of technique, and not just tools -- but the tools
there are very powerful, and completely different than the free set.


-
7
-
> Photoshop can help sharpen fuzzy photos using the tutorial by
George
> Imrie(www.psmeg.co.uk/tutorials/sharpen_fuzzy_images.htm.
> It doesn't work for Photoshop Elements....but could it be made to?

If you have Hidden Power, all you need to do is separate out a
channel and use it as described. I found the page here:
http://www.psmeg.co.uk/pages/tutorials/sharpen_fuzzy_images.htm

If you need more help with that, let me know.


-
8
-
> A friend at NASA in Maryland tells me that the way they take BXW
and
> convert it to color is that they shoot the BXW images at different
> wavelengths (effectively, different colors) and then combine them.

I can't vouch for the process, but it would be entirely possible. If
you have the hidden power book, you will see an example of almost
exactly this when you take the 3 parts of an image taken before there
was color film and put them together to make a color photo. The color
components are black-and-white. They come together and interact to
make color!


--------------------------------------------------------
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 © 2003 Richard Lynch
------------------------------

--------------------
Hidden Power Monthly
July 17, Vol.5
--------------------

The Newsletter for Elements Users


--------------
In this issue:
--------------

Links
Hidden Power Actions III
Long Answers
Short Answers
Actions Corner


--------------------------
LINKS
--------------------------

The Hidden Power website:
http://hiddenelements.com

The Hidden Power forum:
http://www.retouchpro.com/forums/forumdisplay.php?
s=&daysprune=&forumid=142

The Hidden Power newsletter archive:
http://groups.yahoo.com/group/hpe

Hidden Power Tools:
http://hiddenelements.com/freetools.html


--------------------------
Hidden Power Actions III
--------------------------

I was planning a major enhancement to Hidden Power Actions and then
promo opportunities 'got in the way.' The tools went to a magazine
called Digital Photography Techniques and a pretty big utility
distributor called ThePowerXChange.

In any case, now the enhancement is done.

*87 pre-installed actions
*The ability to install over 500 actions
*Manage an infinite number of actions in sets of 12 or groups of 84.

NEW TOOLS:
  -------
  Fade effect
  Shadow Mask
  Highlight Mask
  Trim image
  Reveal Image
  1 slower Action playback speed control
  Custom Drop Shadow
  Custom Glow (inner & outer)
  Custom Bevel
  Custom Stroke

DOWNLOAD FROM:

http://hiddenelements.com/freetools.html

OR Adobe Studio:

PC: http://share.studio.adobe.com/axAssetDetailSubmit.asp?aID=7516

MAC: http://share.studio.adobe.com/axAssetDetailSubmit.asp?aID=7531


THANKS: to Susan Stewart for testing and suggestions.


--------------------------
LONG ANSWERS
--------------------------
1. Which Came First, the Book or the Tools?
2. Color Management and Getting the Color You Want
3. JPEG 2000
4. How do I get Images from My Camera Into Elements?

-
1. Which Came First, the Book or the Tools?
-

> Did the tools in Hidden power Actions II and Action Pac I come out
after
> The Hidden Power of Photoshop elements 2 and are they suppose to be
an
> addition to it? Also are there any uninstalls available with
> Action Pac I or II?

Hidden Power Actions is new stuff that came out after the book --
mostly as a promotional package, but containing tools not in the
book. As far as I am concerned, everything you need is in the book,
but you can add these on, and they work in conjunction with the
original tools -- sometimes duplicating functionality. Some people
prefer certain tools, like the true layer masks or quick mask.

There is no formal means to uninstall the HPAIII package for PC
(there is one in MAc), however, all access can easily be cut off be
replacing the original Welcome/Index.html file -- or by deleting the
files. The complete file list can be had in the installation readmes
included with the packages. The additional actions are just actions --
  action files from Photoshop. They don't cause any performance
problems and there is no EXE or other application file...the tools
become incorporated with Elements.

If you get in a really harried way about getting the tools out of
your computer, you can always re-install Elements, but I have not
heard one complaint that the tools caused any crashing, performance
problem nor any desperate cry to get rid of them...I don't think it
would ever really be necessary.


-
2. Color Management and Getting the Color You Want
-

> So if you use a color management workflow, what you
> see on your screen will be what you see when you print.

I think the statement above really makes profiling sound like a magic
wand.

WYSIWYG (what you see is what you get) is the goal whether you use a
color management workflow or not. You can work without profiles
embedded and do a fine job -- but it is still a benefit to calibrate,
test, check, and know how your service handles color. Note that you
should calibrate, test, check and know how the service handles color
whether embedding or not. I've been working without embedding
profiles for years, and only rarely consider using a profile. The
benefit of profiling is really something you will achieve AFTER you
can get decent results without them. And then it might be that you
may not need them. I find most people worry a lot about color
management when they are both unsure what it is and what to do with
it -- or when some other well-meaning person tells another that they
need it. I propose that most people SHOULDN'T use color
management...and you can get results anyway.

A well versed fellow from another group said: "In the real world of
press output, sRGB is not a huge problem, although many make a big
fuss about it's reduced gamut." Huzzah. People claim to see and need
a lot of things to fix their images, claim results by fire or ice, by
witches brew and dominatrics...some do get all the right results for
all the wrong reasons. I have seen more disasters with profiling and
people who half-know theory than I bet there would be without. If I
control my image and don't embed a profile, the image shouldn't
change; If I supply the RGB(whatever) and am depending on the profile
to work some magic, I'm at the mercy of the service and their
practices for the conversion... If you want an RGB print to match
what you see on the monitor, have a calibrated monitor and use an RGB
process (LED/CRT). It isn't all that expensive, and can be great for
single prints. You have to go after what you want, and understand how
to get it.

Workflow isn't necessarily one thing. You don't always have to embed
a profile. You can have several workflowS. The right approach to
getting a good image is to start knowing where you hope to end up,
and prep the image accordingly... whatever the voodoo you prefer to
use in between. If the results don't match from screen to print and
are unpredictable, you need to rethink your workflow.

Profiling is a potential complication -- and should be the first
thing to go when trying to solve problems. Some make it the starting
point -- perhaps for the wrong reasons. Calibrate, sure (so your
screen is right). Create an ICC profile, sure (so your previews are
right). But just cause there is a profile doesn't mean you are
obligated to embed (just as your service is not obligated to honor).

Color conversion is more horseshoes or handgrenades, for the most
part, than sniper-shooting. There isn't a right or wrong way, really,
no silver bullet. There are just ways that get results, and those
that don't. Just because you get a result one time using a particular
method doesn't mean ANYTHING, unless you know why it worked. More
than one method can produce an acceptible result. Knowing the benefit
of color spaces and the reality of their advantages can help you make
good decisions. Some decisions will make more or less of an impact on
the result...and some will be impossible to distinguish.

When in doubt, simplify.


-
3. JPEG 2000
-
> Photoshop Elements Help File tells me that I need the JPEG 2000
> Plugin to be able to save files in the JPEG 2000 format. Where can
I
> find this plugin?

That "help" file will tell you a lot of things -- like you can't use
Curves with Elements ;-).

As far as I know the JPEG 2000 plugin comes bundled with the RAW
plugin -- and I've not seen it available separately. The $99 price
tag would drive me away -- as it is something I bet they give away
later. I heard just the JPEG 2000 plugin can be had by Elements users
for free, but visiting the Adobe site does not bear this out -- or at
least I can't find it.

Better, there seems to be a free option available here:
http://www.fnordware.com/

I am wondering what you hope to accomplish with the format, and hope
it is the thing you really need. You can read a little more about it
here:

http://www.dpreview.com/news/0302/03021904adoberawplugin.asp

-
4. How do I get Images from My Camera Into Elements?
-
> How do I get my images from my digital camera into Elements?
> I had  thought I needed breeze Downloader to get them off
> (driver issue aside) then Breeze Browser to do something else
> with them not really sure other than cataloging them and then
> send them to Photoshop Elements for cropping color adjusting
> red eye and all that stuff.  Do I need to do these things like
> this or can you tell me if PSE does everything?


I am all for simplifying process. Let me tell you what I do.

1) take a picture (actually load up my camera's smartcard and
flashcard -- it
takes both)
2) connect my USB card reader
3) move the images to my hard drive
4) Open in Elements or Photoshop

My camera came with Camedia, which I used to use to initially open
the images, but JPEG and TIFF are common formats and don't really
require translation. When I started just opening the files in
Elements, it worked just as well, so I just stopped using camedia.

If you are using a camera with a proprietary format, or RAW formats
which don't translate easily, it may be best to use the software
supplied to open the images initially. If the manufacturer makes a
plugin (better be free), you might try using that to import to
Elements. My interest was to cut out the extra step of moving or
downloading to another software...so I could move to where I wanted
the images.

I am not directly familiar with Breeze Browser, but expect it will
probably not do much that you can't do in another way. However, don't
just throw it out until you are absolutely sure there is another
method of working wth your images. Camera makers supply software to
use your images on computers in case you don't have another choice.
Elements is a great sophisticated one, which can grow with your level
of expertise and understanding.

I hope that helps.



------------------
Short Answers (10)
------------------

-
1
-
> Page 85 #2
> when clicking on add luminosity i get a warning that states The
> object "previous history state" is not currently available.
---
On page #85, #2 the action was adjusted for images that needed to be
flattened. In the case of the image you opened, it did not need to be
flattened, so there was no flattening step. While it should have been
caught, if you ignore the warning by just clicking [continue], it
works fine.


-
2
-
> Page 85 #9
> according to the error resolution pages, i should be using points
74,0 with
> elements 2, but i get a warning stating An integer between 2 and 73
is
> required-closest value inserted.
---
on page 85, #9 I have both gotten this to work and not...and I can't
tell
when and why -- It may be a difference between elements 1 (which the
book was
initially written with) and Elements 2 when it was in Beta -- so
somethings may
have changed...In any case, step 9 doesn't match the figure, which is
why the
number change is suggested. Which is right? Answer: it barely
matters. If you
can set the point at either 73,0 or 74,0 the tangible difference is
almost
nothing (half of one percent overall). The ZERO is more important.>


-
3
-
> Page 86 #13
> when told to merge the masking tone with the
> mask layer, do i use the merge visable command?
---
On page 86, #13 it doesn't matter which method you use to merge the
two
layers, as long as only those merge. If you use merge visible, be
sure those are the only two visible layers (the book warns somewhere
about this...grouped
layers can cause merge problems when the base for the group is not
visible and the layers it is grouped with are). Probably the easiest
way is to select the
upper layer of the pair and merge down. As more than one method has
been
discussed, I left it open.


-
4
-
> Page 88 #1
> how do i open a flattened rgb image?
---
On 88, Open a flattened image or open one that is not flattened and
flatten
it. If you are asking about a command that will open an image and
flatten it,
there isn't one. My original steps broke out these things into two
setps (open,
be sure the image is flattened), but editorial was hard on me about
making
steps combined so as not to seem too basic -- or take too much room.


-
5
-
> Page 88 #2
> how do i set up the curves to look
> like fig. 3.32.
---
On 88 #2, just place points as they look like in the image. This is
approximately: 24,0 26,100 74,100 76,0. Again, you are looking to get
the points LIKE the example, what the example is exactly matters less
than understanding the idea of placement. I guess I considered the
lack of minor details more like tiny quizes: if you understood the
last application (and I realize there is a lot to remember), then you
can figure out what to do here.


-
6
-
> Do you recommend using Wacom tablets with PSE 2.0?
---
If you like tablets, then using one with Elements could be helpful.
Some people like them -- usually those with a trained art background.
Personally I use a trackball, and believe I've tried everything on
the market. I find the trackball far more steady and easy to control -
- for me more accurate than using a pen of any sort. It also has a
small footprint, taking up little space on the desktop...and never
moves on the table.


-
7
-
> The readmepc.rtf file from HPA II said
> there would also be a advanced.rtf file installed.
> I cannot seem to find this advanced.rtf file anywhere?
---
Look in the Elements program directory. It should be right there in
the main directory.


-
8
-
> Should I be posting this message to the Retouchpro forum
> or is it ok here?
---
You can send to the listserv (yahoogroup.com) or the retouchpro
forum. I answer email directly as well, but if it is a question other
people will have it is best just to send it to the listserv. It'll
end up there anyway -- like this one!


-
9
-
> I noticed in your third newsletter (on your web site)
> you mention a specific errata change, and that this
> should show up on the sybex web site. Unfortunately
> this is not the case.
---
There should be noplace that says the Errata are on the Sybex site.
Or they may be there (not all of them), but you should check my site
first ( http://hiddenelements.com ). I keep track and report them to
the publisher when they go to reprint.


-
10
-
> I've been reading your book and I am impressed so far.
> It has already explained a number of things I had been
> unable to figure out even though I have been using the
> program for over 6 months
---
You may be more impressed to know there are things in there that
people using the program 10 years don't know. If you get it all in 6
months, it is quite an achievement! If you still have questions
unanswered when you are done, please ask. The hard ones are the most
fun for me these days.


------------------
Actions Corner
------------------

1. Problems Installing Batch Actions
2. Free Tools Password?


-
1. Problems Installing Batch Actions

<<I downloaded them and believe I followed the directions but they
don't appear. I placed the .atn file in the proper folder, but when I
go to Batch I don't see them.>>

Click on the drop menu for Convert File Type. The field says "Visit
http://hiddenelements.com"...I had to get a plug in, just in case. I
mean doing all this stuff for free is all well and good, but if you
only get the free stuff you've barely got  a quarter of what Elements
can really do. It isn't good for either of us ;-)


-
2. Why Use the Welcome Menu?

<<I don't think the enhancements should appear in the Welcome screen.
It is not appropriate. Which of your actions do you use before you
even have a picture in the workspace?>>

There aren't any that you use before a picture is open. The menu is
there for applying what I need after I open an image. If it goes
away, as it sometimes does, I access it again by choosing it from the
Windows menu. There is nothing on the initial screen you can't get on
the File menu. However, if you don't want to install over the
Welcome, you won't be able to get the tools. I had to put them
somewhere, and this screen was, in my opinion, the best choice.

Did you know (Mac/PC):

Cmd/CTRL + O     Brings up the Open window
Cmd/CTRL + Shift + O     Brings up the Browse window

You don't even have to click the button on the Welcome screen.

If you don't want to see the welcome screen at all, there is a check
box to toggle it off completely. This option was put in by Adobe,
because they realized the screen was not too important. You can shut
off the Hidden Power Welcome palette, keep it in the How-To menu, and
still open images from the browser or open menu using the two,
quicker shortcuts.

I am sorry if you don't feel it is appropriate. I would move it if
there was a better solution. I wish I had unlimited time to devote to
this, but I just can't. My bet is that if you use the tools and see
how handy they are, you won't miss the Welcome menu for long.



--------------------------------------------------------
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

Get it the book here:
http://www.amazon.com/exec/obidos/ASIN/0782141781/newwriting/

Copyright © 2003 Richard Lynch
------------------------------

Get the free Hidden Power batch tools for Elements here:

http://hiddenelements.com/freetools.html

Or here:

Mac:
http://share.studio.adobe.com/axAssetDetailSubmit.asp?aID=7327

PC:
http://share.studio.adobe.com/axAssetDetailSubmit.asp?aID=7328

Thanks to those who noted the link goofup.

Richard

--------------------
Hidden Power Monthly
June 20, Vol.4
--------------------

The Newsletter for Elements Users


--------------
In this issue:
--------------

Links
Ooops!
Chuck Beam's Hidden Power Batches
Long Answers
Short Answers
Actions Corner


--------------------------
LINKS
--------------------------

The Hidden Power website:
http://hiddenelements.com

The Hidden Power forum:
http://www.retouchpro.com/forums/forumdisplay.php?
s=&daysprune=&forumid=142

The Hidden Power newsletter archive:
http://groups.yahoo.com/group/hpe

Hidden Power Tools:
http://hiddenelements.com/freetools.html


--------------------------
Ooops!
--------------------------

<<When I bought your book I couldn't put it down. Now I have to go
back to the beginning and start the tutorials. Looking forward to
another newsletter!>>

Ok, so I missed the month of May. I was planning a major enhancement
and just never got around to completing the package because of too
many other obligations. I ran out of month. Actually I am still
working on it between other things. It was all with good intention.
I'll have a special announcement once it's completed. And I'll not
miss the June newsletter!

The result, when I have it done, will be Hidden Power Actions
III...It should be done this month. I think you'll like it.

HPA3 will bring you the ability to load over 500 actions in 6
categories. I will be adding a few new Hidden Power features that can
help you easily achieve some simple, flexible effects (Shadows,
Glows, Etc.) quickly. You'll also be able to replace not just
sets of
12 actions at a time by renaming a folder but set groups – a
total of
84 actions! You can still customize any way you want.

One thing I did complete: I actually have the first batch processing
set ready to go. They said it couldn't be done, and, well,
it's done.


--------------------------
Chuck's Batch Actions
--------------------------

While several people made batch action requests, the first batch set
offering is named for Chuck Beam, who suggested several of the
actions included there. The following lists the actions in the batch,
the names being the description followed by the format the images
will save in:

	 Chuck's Auto LevelJPGm
	 Chuck's Auto LevelJPGh
	 Chuck's Auto LevelTIFF
	 Chuck's AutoLevel-Contrast JPGm
	 Chuck's AutoLevel-Contrast JPGh
	 Chuck's AutoLevel-Contrast TIFF
	 Sharpen .5 Radius 50% TIFF
	 Sharpen 1 Radius 50% TIFF
	 Sharpen 1.5 Radius 50% TIFF
	 Sharpen 2 Radius 50% TIFF
	 Channel Mixer TIFF
	 Sharpen .5 Radius 50% JPGm
	 Sharpen 1 Radius 50% JPGm
	 Sharpen 1.5 Radius 50% JPGm
	 Sharpen 2 Radius 50% JPGm
	 Channel Mixer JPGm

AutoLevel -- applies auto level to every image in a folder

AutoLevel-Contrast -- applies autolevel and auto-contrast to every
file in a folder

Sharpen -- applies sharpening with the set radius and % as described
to every image in a folder.

Channel Mixer -- lets you apply channel mixing to every image in a
folder by opening the Channel Mixer dialogue.

The package and installation instructions can be downloaded from the
Hidden Power website ( http://hiddenelements.html/freetools.html ),
absolutely free.

SPECIAL THANKS: Chuck Beam for his suggestions, and Chuck and Susan
Stewart for testing and feedback!

If you'd like to see other actions in Batch let me know!


------------------
Long Answers
------------------
1. Foreign Language Versions
2. Level Output Sliders
3. Fade Filter and Luminosity
4. RGB Elements Book Recommendations?
5. Using Picture Package
6. ICC Profiling for Hidden Power?
7. Trouble With Levels Color Correction
8. Masking Wispy Hair
9. Multiple Images on a Page?


-
1. Foreign Language Versions

<<Does HPE tools work on for example the Swedish version or is it
just on the English? I downloaded the free tools for try and I did
not get it to work on Swedish version, but on the English version did
it work.>>

Not all the tools work on foreign language installations. Because of
the way Adobe set up the file structure and referencing, there is a
problem in using some of the functionality in the tools and Actions
in versions other than English. I wasn't aware of the problem because
I only use the English version and the book is only published in
English (so far!).

However, I want to help foreign users! If you can get to a C prompt
(assuming you are on a PC) and run the following from the Elements
program directory: Dir/A:D/A:A/S/B , I can get you a solution...maybe
not tomorrow but soon. Send the resulting file to: thebookdoc@...
Be sure to tell me what language you are using. I will then make the
tools available for those users.

That goes for ANYONE using a foreign version. One note, running this
will give me a listing of everything in your elements directory --
just so you know what I am looking at. All it does is create a text
file. I can make adjustments by popular demand!


-
2. Level Output Sliders

<<I don't recall seeing the Levels Output sliders mentioned in my
reading thus far. And yet they definitely are controllable.>>

One of the earliest things I say is that you don't need every tool. I
assumed that meaning spread to not every part of every tool will be
broadly useful or interesting. I have personally used the output
sliders about 5 times in my life. They are useful in limiting the
output result. That is, if you want to limit the output range of the
image to a specific range, the lower sliders can be used to re-
compress the response.

This book is not meant to be one that examines every tool and every
button. My hope was to show those you'd really use and make best use
of. There are few situations where Levels Outputs come in handy --
and I can't think of a good example off the top of my head.


-
3. Fade Filter and Luminosity

<<Is the Fade filter a plug-in? Everyone talks as if it is a standard
component of Photoshop.>>

I don't remember when Fade was introduced, but I think it was in
Photoshop 6. It fades the effect of any filter you apply. It
isn't in
Elements, but you can imitate it like this:

1. Create a new layer at the top of the layers stack
2. Press CTRL+ALT+SHIFT+E/Cmd-Control-Shift-E (PC/Mac). this will
copy the current visible image into the new layer as a flattened
result.
3. Run the filter you want to run on the layer.
4. to Fade, shift the opacity.
5. To affect the Fade mode, change the Layer mode.

It is really that simple.

So, say you have an image with a layer you want to apply a luminosity
fade adjustment to:

1. duplicate the layer.
2. Run the filter you want to run on the duplicate layer.
3. Shift the opacity to affect the fade.
4. Change the Layer mode to Luminosity.

OK?

[NOTE: I'll be adding a Fade action to Hidden Power Actions III.]


-
4. Elements Book Recommendations?

<<I am new to this group and to Photoshop Elements 2. If you could
only
have one book dealing with Photoshop Elements 2, what would that book
be and why. I am retired and have to spend my money wisely. >>

Well, I would recommend the book which this newsletter sprung up
from: The Hidden Power of Photoshop Elements 2. You can get it here
if you haven't already:

http://www.amazon.com/exec/obidos/ASIN/0782141781/newwriting/

I would recommend it because I think that most people will quickly
outgrow the basic books and rarely ever look at them again. It is my
hope that the Hidden Power book is challenging and diverse enough
that it is something you can come back to time and again and either
take more away, or learn something new each time.

Beside that, there are also tools on the CD which bring you 95% of
the way to Photoshop. You will be able to do anything you can in
Photoshop, except a few production related things, and for a fraction
of the cost. The tools on the CD are not available anywhere else, in
any other book, with any plugin, or from Adobe. It is a unique and
powerful addition for any user -- alone, I have heard, worth the
price of the book many times over.

Hope that helps!


-
5. Using Picture Package

<<I followed the directions on page 223 to create a custom package
layout for 4 2X3 pictures on a 4X6 page. The txt file seems correct
as follows:

	 I 4 6
	 (4) 2X3
	 0 0 2 3
	 0 2 2 3
	 3 0 2 3
	 3 2 2 3

It didn't work. If I want to set up 4 2x3 images on a 4x6 sheet, how
does that go?>>


The instructions in the book are right in the example, but the
description is wrong. When discussing the positions, it is distance
from the left, distance from the top, width and height. Somehow those
first two phrases got inverted.

Your custom package would look like this:

	 I 4 6
	 (4) 2x3
	 0 0 2 3
	 0 3 2 3
	 2 0 2 3
	 2 3 2 3

Hope that helps!


-
6. ICC Profiling for Hidden Power?

<<One of the biggest drawbacks to PS Elements as a standalone image
editor is that you cannot assign or convert image ICC profiles. Any
chance you will be adding that ability to the HPE tool set?>>

Some people may have noticed I have a thing about profiling. My thing
about profiling is: If you can't get decent results without a
profile, you can't improve those decent results with a profile. A lot
of well-meaning yakkity-yak goes on, often from people either pushing
an agenda or who have stumbled on a result. Accidents are not part of
what I do. If I get a result, I know why -- and not vaguely because I
used XYZ profile -- because unless I can describe exactly what it is
doing for me, it is a mistake.

I worked for years before there were profiles. I learned to get less
complicated results without them. It adds a variable, and therefore
complicates the process. Why complicate it first?

I've no doubt people improve some of their output with profiles. I
have more doubt that most of them really know why.

I have a feeling, given my attitude, that I'll not work this one
out
soon. You can, opposed to general thinking, embed the profiles you
want using techniques from the Hidden Power book. There may be even
more clever ways of doing this using an EXIF editor.


-
7. Trouble With Levels Color Correction

<<I am having a little trouble with applying Levels corrections to my
images, though I got the correction to work on the image in the book.
Does this work only for this image? I can't duplicate the results and
the images look awful when I am done. [example enclosed] I take an
image (scanned), use RGB separation from HPE, go to each separation
in turn and (manually) adjust levels (via a new adjustment layer),
and then use Preview from HPE to put back in the color.  The end
result is virtually indistinguishable from the original image.  The
level adjustments I'm making are both in the RGB channel and the in
the separate channels. I don't know what the composite RGB histogram
measures as opposed to what each channel's histogram separately
measures.>>

The image you sent me has the channels separated. I do discuss how to
make a levels adjustment, and the method you are using is not the one
I suggest...it is possible, sure, but requires applying changes to
tone, not color, as channel information is saved as tone. Because you
have separated the channels, following the Levels instructions won't
work as described in the book (that is done with a flattened image) --
  you have to do it differently. In your correction, you have a Levels
correction to the green channel. At the top of the Levels palette
there is a drop list and you have set this to: Channel: Green. It
sould say Channel: RGB.

You only have to change the channel drop list when you are not first
splitting the channels. If you do this with a separated image, what
should be a grayscale channel will be altered unpredictably, shifting
to green (left) or magenta (right) depending on which sliders you are
moving.

RGB measures all the information and will keep it grayscale as it
should in the separation.

Try this. split the image to RGB with preview. Shut off the blue and
red channel. next, shut off the green color fill layer. Then add a
levels adjustment to the Green layer. Adjust the RGB...and note that
it remains in grayscale (which is desireable). Now change the green
channel...and notice the layer changes to a color...this is bad.
Grayscale in an image should be even amounts of red, green and blue,
and using only one of the channels...turns the channel to a color by
offsetting the perfect balance. You apply the color using the
separate fill layer for a reason.

"I can get through your book but it doesn't explain the WHY of that
particular step (why choose 'screen' instead of normal, or 'multiply'
on the fill layer, just as examples)"

I hope I can disagree. I don't explain each step all the time, no.
The reason for this is because this is really a book directed at the
advanced user. I describe "screen" when it is first used. The text
says that it is used to apply the layer as additive light (see step 9
page 38). RGB is light based theory...and the channels have to
present as light. As things are discussed, they are put aside --
often rapidly. This keeps the advanced user from getting bogged down -
- and supplies the information for those that may need it. I can't
keep saying it, or several things happen: more advanced users (the
target audience) get bored, and the book balloons to 900 pages -- and
the cost goes up. It is a lot for many people to digest -- and that
is poking at no-one, this is not easy, run-of-the-mill stuff. All I
am saying is if you aren't familiar with the technique and are not
otherwise 'advanced' you may have to go through stuff several times.
It may be asking the user to retain a lot of details: don't expect to
get it all at once. It isn't necessary, and the understanding will
come with time and use.

OK?


-
8. Masking Wispy Hair

<<What I want to do is take a photo of a person with wispy hair and
get rid of the background.  If anyone can give me a hint of how to
start, I'll do the hard work.>>

If you can control the background when taking the image, you are
going to have a far easier time of it. Nothing really works like
magic (even the Extract tool). However, if you can confine the
background to a specific color (or range) you'll be able to knock it
out pretty handily using my tools.

You might want to try some manual masking (which quite honestly is
often what I do).

Try this:
1. open the image you want to use
2. flatten (if it isn't already)
3. dupicate the background and rename it Source
4. select the whole image
5. Press D to reset to default color
6. Activate the background layer by clicking it in the Layers palette
7. Press backspace to clear to white (you won't see it on screen)
8. Create a new layer. It will be between the background and Source
layers. Name it Mask.
9. Activate the Source layer.
10. Duplicate the Source layer and rename it Hint.
11. Change the opacity of the Hint layer to about 50%.
12. Activate the Source layer again.
13. Press Cmd/CTRL+G (mac/PC). This will group the Source and Mask
layers. The image will appear at 50%.
14. Choose the paintbrush and a small, round, 50% hard brush (you may
need to adjust the settings).
15. Activate the Mask layer, and paint in the areas you want solid.
16. Preview the result by toggling the view for the Hint layer.

If you see what I've tried to have you set up here, you are using the
original information as a template to help create a manual mask.

There are a lot of variations and things you can do to speed this up,
like using the Magic Wand to select areas outside the hair and then
fill an inverted selection, using the polygon lasso to select larger
areas, or using the Bucket tool to fill areas (in most cases, use
Contiguous, All Layers, Antialias, and a tolerance of 20-50).

Of course, there is always setting this up using Layer Masks (which
you can get with the free tools from my website:
http://hiddenelements.com ), and when you have the tools from the
book, look into using Blend Mask, Saturation Masking, and other
selection and masking techniques I include there.

Hope that helps!

PS - I have considered adding the Extract tool to Elements, but
really never use it myself.


-
9. Multiple Images on a Page?

<< I sometimes want to print say three or four images on an A4 sheet
and move them around until I find a layout I am happy with. PE2
doesn't allow you to do that in the way that, say Paint Shop Pro does
with its Multiple Image Printing facility.>>

I don't use PSP often enough to know if there is anything comparable
to that feature. There is, however, Picture Package in Elements
[referenced elsewhere in this newsletter]. This should be able to
cover most situations. You can describe a specific size sheet and
image placement, then add the images you want to print -- which will
resize automatically.

Another method is just laying out what you want manually. You might
think this too remedial, but opening an image to 8.5 x 11 at 250ppi
and draggin in the images you want, then sizing them and placing them
would be what i'd do for a one-time printout. If there is a set
pattern you like to use, you need to look into Picture Packages,
covered in The Hidden power of Photoshop Elements 2.

OK?


------------------
Short Answers
------------------

<<Is there a shortcut to jump between pencil and brush?>>

Elements: (B)rush, Pe(n)cil
Photoshop: (B) for both. Switch with Shift+B
For any shortcut, just roll your mouse over the tool and wait. A tool-
tip will pop up that shows the shortcut.


<<My computer crashed and I have to rebuild and reload. I need to
reload Hidden Powers, but have no password. I forgot what it is and
where to find it.>>

One of my means of pushing people to read the book and not just use
the tools was to put the password in the introduction. It's there!


<<From my understanding new tools that were not on the cd can be
downloaded from your site or is there another site I must go to?>>

http://hiddenelements.com/freetools.html
I will be posting an update with revisions in a few days.


<<I read in your bio that you have written a number of articles on
scanning. I have a Epson 3200 flat-bed, I'm interested in restoring
old damaged photos and was wondering if any of those articles would
pertain and where I could find them?>>

These are in a variety of magazines -- none, I think, online. There
may be a chapter from my earlier book Adobe Photoshop 5 how To still
on Informit.com...try looking there. It has a few hints.


<<I'm considering a wacom tablet for image editing, 4x5 or 6x8. Is
the size important and do they improve the editing process?>>

It depends, I think, on how much of an art and sketch/drawing
background you have. I prefer trackballs myself because there is far
less wrist action and placement, but there is also decidedly more you
can do with a pen. 6x8 will allow you to have better fine control
becuase the pen can go further to cover the same ground...to me, that
would be the advantage of the larger. If you don't have a steady
hand, the small one might actually prove more difficult to use.


------------------
Actions Corner
------------------

1. Problems Unstuffing the Free Tools
2. Free Tools Password?


-
1. Problems Unstuffing the Free Tools

<<Neither of my unzip programs (Aladdin Expander or 1Click unzip)
seem to be able to handle a password protected zip file. What
software must I use?>>

Enzip is a fabulous free utility for PC that can handle the
unzipping. Get it here:

http://www.cpam.freeserve.co.uk/

For Mac, I have had good luck with MacZip:

http://www.haase-online.de/dirk/maczip/download/index.html

or Maczipit:

http://www.maczipit.com/ )

Alladin Expander works as well. Be sure you have the newest version:

http://www.stuffit.com/win/index.html

Hope that helps!


-
2. Free Tools Password?

<<I have downloaded the free tools from the link in the newsletter,
but cannot locate the password for loading the tools. I have tried
the password used to install the cd in the book The Hidden Power of
Potoshop Elemnts 2, and that password does not work. What is the
password?>>

Sorry, several people have asked this question. I had that password
in there for beta testing only so people wouldn't get a version I
didn't want circulated, and I forgot to remove it for the release.
They are free tools, it really shouldn't have a password!

Anyhow, the password is: hpa2

If you haven't gotten the tools, you can download them from the
hidden power site: http://hiddenelements.com

Or there is a way to get them from Adobe but it requires creating a
login on the Adobe site:

PC:
http://share.studio.adobe.com/axAssetDetailSubmit.asp?aID=6904

MAC:
http://share.studio.adobe.com/axAssetDetailSubmit.asp?aID=6903

I hope that helps!



--------------------------------------------------------
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

Get it the book here:
http://www.amazon.com/exec/obidos/ASIN/0782141781/newwriting/

Copyright © 2003 Richard Lynch
------------------------------

<<I have downloaded the free tools from the link in the newsletter, but
cannot locate the password for loading the tools.  I have tried the
password used to install the cd in the book The Hidden Power of
Potoshop Elemnts 2, and that password does not work.  What is the
password?>>

Sorry, several people have asked this question. I had that password in there for
beta testing only so people wouldn't get a version I didn't want circulated, and
I forgot to remove it for the release. They are free tools, it really shouldn't
have a password!

Anyhow, the password is: hpa2

If you haven't gotten the tools, you can download them from the hidden power
site:

http://hiddenelements.com

Or there is a way to get them from Adobe but it requires creating a login on the
Adobe site:

PC:
http://share.studio.adobe.com/axAssetDetailSubmit.asp?aID=6904

MAC:
http://share.studio.adobe.com/axAssetDetailSubmit.asp?aID=6903

I hope that helps!

Richard Lynch

--------------------------
Hidden Power Monthly
April 09, Vol.3
--------------------------


--------------------------
In this issue:
--------------------------

More Free Actions
Hidden Power Site Updated
Q&A Selections
Actions News


--------------------------
LINKS
--------------------------

The Hidden Power website: http://hiddenelements.com
The Hidden Power forum: http://www.retouchpro.com/forums/
forumdisplay.php?s=&daysprune=&forumid=142
The Hidden Power newsletter archive: http://groups.yahoo.com/group/hpe


--------------------------
More Free Actions
--------------------------

I made a new package available for those using the Hidden Power Actions II =

interface. The package includes over 40 of Bud Guinn's frame actions. I am =

hoping to get together a few more things this coming month, and hope to
finally have recruited a few actions developers to convert their actions fo=
r
Elements users.

If you want to download the actions, you can get them here:

http://hiddenelements.com/freetools.html

If you haven't yet gotten the Hidden Power Actions II interface, you can
download it from the hiddenelements.com site at the same time.

I expected to be both a little more and a little less busy and a little les=
s with
action requests and additions. I was expecting more people to request
specific actions, and was expecting to spend less time working with the
interface. I'm wrong twice. If you have other suggestions and interests, or=
  you
want to help out developing compatible action sets, please let me know!

There is a developer kit included with the package. I've heard from Susan
Stewart that if you can find a demo copy of Photoshop 6, you can use it to =

successfully record your own actions to use in Elements!


--------------------------
Hidden Power Site Updated
--------------------------

The Hidden Power site has been updated. There should be no dead links. If
you find any, let me know. The Q&A section was replaced with a forum, which=

will better serve the purpose of immediacy. See the link in the beginning o=
f
the newsletter. I've updated the errata, and added a download for the new
Hidden Power Actions II action package for Bud Guinn's matte frames and
other goodies.


------------------
Q&A Selections
------------------
Every month I will be choosing some feature questions for the Q&A in the
newsletter. Get your questions in through the website or by sending them to=

the Yahoogroups list (hpe@yahoogroups.com).

1. iNova Aerial Photo Actions
2. Orchid Exercise on 154
3. Gradient Map Exercise
4. RGB Separation Explanation?
5. Monitor Calibration with Adobe Gamma?
6. Why are my images too large at 100%?


-
1. iNova's Aerial Photo Actions

<<There seems to be a lot of interest in actions, and I thought there might=
  be
interest in Peter iNova's corrections. will they be converted?>>

I would convert these and have mentioned the interest to Peter, but I am no=
t
sure that it is the best thing for those correcting aerial photos. The corr=
ection
he provides is static, and I think that will not necessarily provide a bett=
er
correction than doing a manual correction yourself.

Perhaps a better explanation is: functions that don't depend on the
individuality of the image can be made into actions. You see, depending on =

the amount of haze, the effects of the light source (overcast, sunny, hazy)=
, and
other factors, the unique lighting is better corrected by hand. You WOULD
automate channel separation, and in my opinion you would not automate
correction of a hazy image or one taken from a specific altitude.

Instead, start with a Levels correction as outlined in Hidden Power, and I =
think
you'll get much of the way there.



-
2. Orchid Exercise on 154

<<I was wondering if the instructions on p 154 for selecting the orchid are=

correct?  Should the tolerance for the magic wand be set to 0?  Very tiny
selections are made when I do this.  I select larger areas when I use the
default values for the magic want tool.  Also, does step 9 read correctly? =
What
exactly are you hiding? The selection? or the border created in step 5.>>

I've looked these over, and everything seems correct. As stated in step 6, =
the
Magic wand settings should be contiguous, tolernace 0 and Use all layers. I=
f
you have successfully made a complete outline, when you click in the areas =

OUTSIDE the flowers, you will create a selection of them. You will then
expand this selection so you can fill the area OUTSIDE the flowers to make =

your mask.

In step 9, you are hiding the mask you just completed. The really interesti=
ng
thing here is the mask will work for you functionally even when you can't s=
ee it
in the image. That is, when you lower the opacity to 0% or if you shut off =
the
view, you will still be able to load the selection from the mask by ALT/Opt=
ion
clicking on the layer where the mask is stored. this mask layer should incl=
ude
the border created in step 5, with the rest of the area outside the orchids=
  filled.
Some people like adding a step or two here to create a new layer. Don't do =

that.


-
3. Gradient Map Exercise

<< I followed the instructions in your book but got somewhat confused. On
page 55, step one, the book says to merge Gradient Map 1 with the
background, then on page 56, step eleven, it says to activate Gradient Map =
1
to select the areas as a mask. I think this is just an oversight and I igno=
red the
merge instruction. >>

This should actually just say "Gradient Map 2". If you don't merge and use =

Gradient Map 1, it won't work. I corrected this via the errata on the book =

website.

<<My real problem is the choice of Paint Bucket as a fill tool. When I use =
the
Paint Bucket to fill this area, it fills only a small area of blue, as show=
n in the
gradient map one layer preview; it would require several clicks to fill the=
  entire
selected area. My confusion is: Why would I use the Paint Bucket instead of=

Edit>Fill into the selected area? What is the advantage of the bucket over =
the
edit>fill in this application? What am I missing in this procedure?>>

Your paint bucket may be set to Use All Layers, and that would affect the
result you describe. It should only take one click with this option off. It=
  really
doesn't matter how you fill the layer (there are a bunch of methods you can=

use). The advantage of the bucket is you can get it by pressing K, which is=

quicker than reaching for the mouse, opening the Edit menu, locating the Fi=
ll
function, setting the options and choosing OK.

You can certainly use another method, such as Edit>Fill. I had to pick an
option to fill the layer, and as i was going through, I tried to vary them =
a little to
be sure users knew the different ways to do stuff. what I didn't want to do=
  was
name every option for each step, because the book would become 3 times as
long, and says the same thing :-). In this case I am trying to show my
sensitivity to the value of different ways to create a fill...some people b=
ecome
rather partial to various methodology.

In the long run, it doesn't change the result. The key idea is to fill the =
layer.


-
4. RGB Separation Explanation?

<< I'm trying to understand RGB separations better. I painted a blank page =

with circles of pure red, green, and blue in a column without touching each=

other.  Then I use your Split RGB Command and
obtain the 3 color layers. Sure enough, in the Red layer, there are 2 black=

circles where the Green and Blue color circles are. Where the Red circle is=
,
there is just white space. Please explain. I am missing something? >>

The RGB Channel separations represent light. The brighter a light, the
WHITER it is. When there is more red, red will display as brighter on a bla=
ck to
white scale. The channel represents intensity of the red color, lightest be=
ing
the strongest.

White is full intensity of Red Green and Blue. Red is 100% red, 0% Green an=
d
0% blue. The black spots you see on the red channel are actually correct,
showing that the red is blocked out when representing green and blue.
Likewise, looking at the green and blue separation will have the green and =

blue blacked out where the red spot is. This means the intensity of the gre=
en
and blue in pure red is 0% -- exactly the result you are looking for.

OK?


-
5. Monitor Calibration with Adobe Gamma?

<< The Display Calibrator has very different interface from what is in your=

book, page 19, etc. Also I did not find Adobe Gamma in my Photoshop
Elements CD.  Sorry. >>

About Adobe Gamma not being on the CD, I can only go by what I am told by
Adobe and their standard MO. Books go well into production before the
product is released. I was not currently on OSX when the book was being
written (I am now) and couldn't check. However there is a Display Calibrato=
r
with a similar look and somewhat similar screens.

I was under the impression (too late to include with the book) that Adobe
Gamma was provided but by another name. I had a look at OS X months ago
when working on the book and shooting the screens, but what I was looking
at did not seem significant enough as a difference to re-write and delay a =

targeted
publishing date. Adobe Gamma also comes with other related products.
Adobe Gamma installs with Adobe Acrobat, Adobe Photoshop, and Adobe
InDesign. Tryouts of these products should also contain the utility.

Apple has monitor calibration information here:

http://www.apple.com/colorsync/benefits/training/calibrate.html

The Monitor Calibration Assistant can help you out. Look at the Monitor
control panel and start the process by clicking the Color button. Then clic=
k on
Calibrate. Again, these screens will be similar to those used with Adobe
Gamma.

Find the steps here:

http://www.computer-darkroom.com/colorsync-display/colorsync_2.htm

Do read the section in my book for tips on following calibration.

Other calibration solutions are listed on the bottom of the web page here:

http://www.adobe.com:80/support/techdocs/1401a.htm

It is very difficult (read: impossible) to make a book to cover all operati=
ng
systems and user possibilities, and late changes by Adobe (they make a
bunch of those). What I don't mean to say here is that I refuse to help you=

out...just explaining the reality. Let me know if this is enough to go on. =
If not, I'll
look deeper into a satisfactory solution. If anyone knows a good way to get=

ahold of Adobe Gamma (legally, please), let me know and I'll pass it on.



-
6. Why are my images too large at 100%?

<<When I look at my 300ppi image at 100%, they look like they are about 4
times as large as they should be on screen. why is that?>>

The % that you see on screen reflects, essentially,  the percentage of pixe=
ls
you are seeing. At 100%, you are seeing 100% of the pixels. At 200+% you
are seeing the pixels enlarged. At lower resolutions you are seeing only
portions of the pixels. It won't matter what the resolution of the image is=
, you
will always see pixels at screen view sizes over 100%. Paying attention to =
this
sizing works for web images or other display on a monitor.

Print resolution is generally much higher than screen resolution. To make t=
he
most of printer resolution you need to target the output resolution, which =
is
independent of the sizing on screen. This is not a straight-forward calcula=
tion,
and can vary according to the type of printer. Usually you'll want the reso=
lution
between 233-300 ppi, about 3 to 4 times the resolution you see on screen.
That means at 100% on screen you'll actually be seeing the result about 4
times the size as it should be in the final output.

Instead of working at 100% all the time, glance at things at 25% to see the=

output size. Use 300 ppi for most general purpose images that will go to pr=
int
(I like to tell people that is often overkill, 288 is sometimes a nicer num=
ber for
certain purposes like viewing accurate output size, and less can
often suffice).

In advanced use you can get even better results and sharpness in type using=

vectors.


------------------
Actions Corner
------------------
This section will be included to help share information on Actions and work=
ing
with them in Elements. I hope to create a collection of Elements-tested
actions, but need reader help. If you run actions successfully in Elements,=
  and
think others would like to, let me know about them! (rl@...)

1. Hidden Power Actions II, what's in it?
2. What do I do with the free tools?
3. Using True Layer Masks


-
1. Hidden Power Actions II, what's in it?

<< I have read and printed out Readmepc.rtf, but nowhere can I find a list =
of
files. Am I looking in the wrong place? >>

There is an advanced.rtf which has the list of files. This free package inc=
ludes:

• Will give you the ability to run Photoshop actions in Elements.
• It will work with Elements 1 and Elements 2.
• It will work fluidly and in conjunction with other Hidden Power tools.
• Adds new tools not included with Hidden Power, and make these tools
accessible to people with and without the book.
• Allows easy installation of up to 84 actions (32 pre-installed by default=
).
• Allows management of an infinite number of action sets (and an infinite
number of actions) on-the-fly without restarting Elements.
• Has options for applying actions from description or preview modes.
• Allows user customization of loaded actions and actions in packages.
• Provides a developer-friendly template for creating and distributing
compatible action packages.

This free package contains additional tools, including:

• Demos of several Hidden Power tools.
• Action playback speed controls.
• Quick Mask mode
• Layer Mask insert
• Channel Mixer Adjustment Layer
• Selective Color Adjustment Layer

The installed interface replaces the default Elements Welcome menu display.=

The Hidden Power Actions can be accessed by choosing Welcome from the
Windows
menu, or through the Hidden Power interface on the "Other" tab for Hidden
Power users (the Other tab works on Elements 2 only. Elements 1 Hidden
Power
users please request a customization for Elements 1).

This package will not enable action recording.


-
2. What do I do with the free tools?

<< Perhaps my biggest problem is that I haven't yet learned what to do with=

the free tools.  Are they explained in your book? >>

Actually the free tools are ... free. they are either samples of what is in=
  the
book, or additions. If you don't have the book, you can use them. There is =
no
instruction on the free tools in the book. The book includes a different,
comprehensive set of tools and instruction. To me the added tools on the
Hidden Power tab on the actions palette are mostly redundant if you have th=
e
book -- with the exception of the actions.

The actions help you complete tasks. These may warrant more complete
description, but the previews on the menu (click Preview or the glasses) sh=
ow
what the actions do.

-
3. Using True Layer Masks

<< When using a layer Mask with the free tools, I often want the mask fille=
d
with black so I can paint in white for the areas of the image i want to see=
. Right
now I use the paint bucket tool set to 100 tolerance and just flood the mas=
k
with black. Seems kind of inelegant. Can you make that tool so it defaults =
to
filled?>>

I could, and may do that as an option in a later enhancement.

About filling the layer, you have several steps there and it would be quick=
er to
do the following: Press D, X, K, clicking the image and then pressing X, B.=

That will change the default colors, put black in the foreground, choose th=
e
paint bucket, exchange the colors again and choose the brush tool for
painting in white. You can do that pretty quickly and use it for now. I've =
timed
myself at under 5 seconds.

It is a free tools after all...I understand your point, and actually agree,=
  but feel
two or three things:

1) Fewer options are less confusing for most people. The HPT in the book
started as a much more complicated set. For paths alone I had some 200
features. The main complaint from testers was that it was too complicated. =
I
simplified...a LOT.

2) I will probably reserve a better tool for those already using hidden pow=
er.
HOWEVER, I also provided a layer mask tool with the book, and because i
believe it will reflect more of what future versions of Elements will allow=
, I think
it is the better tool to use.

3) Now that Hidden Power actions II is out, it is not likely I'll change it=
  right
away -- at least not until I feel there is a broader update necessary. Ther=
e are
other things hotter on the list of things to do. Had I more time, I'd gladl=
y add it. I
will be adding the ability to run more actions first.

4) Try using Quick Mask -- another one of the free tools. If you are painti=
ng in
a Mask, that's a good way to go.

None of this is to say no.


--------------------------------------------
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

Get it the book here:
http://www.amazon.com/exec/obidos/ASIN/0782141781/newwriting/

Copyright © 2003 Richard Lynch

Hidden Power Monthly
March 01, Vol.2
--------------------------

In this issue:
----------------
Revised Actions Package
New Forum
Hidden Power Site Updated
Tools for the Future?
-------------------
Q&A Selections
Actions News


-------------------------
Revised Actions Package
-------------------------
It's been a busy few weeks updating the free Actions package
and making it available. I decided to make it work for both people
that have Hidden Power and those that don't. Hidden Power
Actions II can be downloaded from the Hidden Power website
here:

http://hiddenelements.com/freetools.html

The package contains not only an interface for running an
unlimited number of Photoshop actions (please see the
instructions for limitations), but several other tools as well. The
key difference between the previous release and this one is that
you can load up to 84 actions (32 pre-installed), and change the
installed actions without closing out of Elements. That means, in
other words, that you can load as many actions as you want --
and you can do it by just changing folder names -- rather than
getting into the HTML.

I'm working on getting some actions developers involved in
making their stuff available and doing the simple conversion to
Elements compatability for you.

New tools in the set include:

True Layer Masking
Quick Mask Mode
Selective Color Adjustment Layers
Channel Mixer Adjustment Layers
Action Playback Speed Control

Annotations are in there, but for some reason are temporarily out
of order. I'll get them working before the next newsletter.

If you have other suggestions and interests, or you want to help
out developing compatible action sets, please let me know!
There is a developer kit included with the package.


---------------------------------
New Forum
---------------------------------
<<Have not received e-mail in a long time. Apparently the Adobe
Photoshop Elements user-to-user forum is less proactive now.
Will this group, or RetouchPro forum, be the vehicle for
susequent information, teaching, etc?>>

If you've been on the Abobe Elements discussion list at all, I
have found that list to be censored so heavily that useful
discussion just can't happen. Instead of trying to fight with the
moderators on Adobe, I've decided to open my own forum. I
would like to keep it censor-free and allow completely open
discussion. The only thing I will do to 'censor' is to confine
discussions to threads, rather than having them run rampant in
a bunch of places. That will allow anyone to discuss anything of
interest -- so long as it pertains to Elements. Those who are not
interested in advertising will be required to ignore advertisments
by not looking at them.

As for the newsletter frequency, I've been frantic trying to get the
new free actions tools out. I appologize for not being more
consistent. I also realized that I liked the forum atmosphere, and
then did a bit of research into setting one up to take care of both
the Q&A and keeping in contact with readers and tool users.

Rather than statically update a question and answer page on the
Hidden Power site, I decided that an open forum would be a
better solution to getting people answers to questions. This has
the added benefit of allowing readers to discuss things with one
another as well, without my intervention, and without my
mono-maniacal perspective. In other words, I know there are
readers with valid perspectives, great ideas and they can help
other users as well. That seems best for everyone.

The new forum is housed on retouchpro.com, which is run by
Doug Nelson (who some may recognize as my technical editor
for The Hidden Power of Photoshop Elements 2). Here's the
direct link:

http://www.retouchpro.com/forums/forumdisplay.php?s=&forumi
d=142

There are several areas there that cover discussion on how to
use tools from the book, how to use free tools, information about
free tool announcements, technical support for installation, and
miscellaneous stuff. Please sign up and submit things for
discussion. The newsletter will still come out periodically, with
grouping of topics and questions, but the forum is your way to
get involved directly with making the most of the tools -- for
yourself and other Hidden Power enthusiasts.


---------------------------------
Hidden Power Site Updated
---------------------------------
The Hidden Power site has been updated -- and hopefully I killed
all the dead links. If you find any, let me know. The Q&A section
was replaced with a forum, which will better serve the purpose of
immediacy. See the link in the previous section. I've updated the
errata, and added a download for the new Hidden Power Actions
II release.


--------------------------
Tools for the Future?
--------------------------
I am have a short list of things to work on for the future, including
the Healing tool, some additional noise reduction tools, and a
few other suggestions. One thing I will be working on are the
additional action sets to make more add ons, but I expect to
tackle Type controls right after Healing. Updating the Hidden
Power Actions II set just got in the way.

Again, I am not exactly sure when it will all be complete.
However, I hope it will be soon. Please feel free to make
additional suggestions both directly to me (rl@...), and
through the new forum. The forum may be the better place to get
reactions from othe users and have them add in what they think
is important.


------------------
Q&A Selections
------------------
Every month I will be choosing some feature questions for the
Q&A in the newsletter. Get your questions in through the website
or by sending them to the Yahoogroups list
(hpe@yahoogroups.com).

1. Can I slow down actions?
2. Steps problem in Chapter 5 Saturation Masking exercise?
3. I lost my password...How do I get a new one?
4. What's the difference between Elements 1 and Elements 2?
5. How do I apply Gradient Maps?


-
1. Can I slow down actions?

<<Is there a way to play back actions slower in Elements so we
can watch what they do and learn from them?? Strange, first we
want faster computers, then we want something to slow them
down!???>>

It was a very good request. Actually I was a few steps ahead of
you. The new action package includes a tool that does just that --
allows you to choose a speed control for playing back actions so
you can see what they do. While you generally won't have to do
this for Hidden Power tools (the steps are mostly written down in
the book), it is a great way to learn from actions and the experts
that create them.

Go down to the website to download the installer and give it a
whirl.


-
2. Steps problem in Chapter 5 Saturation Masking exercise?

<<In the Saturation Masking exercise, I am not getting the right
results. I've tried it several times and it just doesn't give me what
I see in the book. Do you know the problem?>>

Yes. The problem is there are a few typos in that
step-by-step...and the important ones happen to be in Step 5.
This amounts to leaving in the word 'another' (remove it) and
saying the H should be 50% when I meant that the B should be.
These have been added to the errata. At the same time they
really don't matter -- in the step you should create a 50% gray fill
layer. That is all that has to happen.

The other problem with that which people are having is that they
are trying to outthink the process and aren't doing it as I lay it out.
I know this won't seem valid because of other basic typos, but
the order of what you do and how you do it is built into the steps.
The 'another' in one step doesn't really matter --though it is an
error. The idea of 50 going in the H really makes no sense if I
say to fill with gray. However, creating a layer after activating a
specific one will create a layer above the current layer. While the
tech editor would have easily passed the 50 in the wrong spot
AND the 'another', he'd not have missed the layer ordering. He
was very good and did an excellent job catching about all of the
mistakes I typed with my forehead as I fell asleep at the
computer on those late nights.

At the same time, this is a difficult concept and not an easy
exercise. You need to struggle with it...and once you have it, you
will be much further on the road to owning the content of your
images. But sorry for the typos.


-
3. I lost my password...How do I get a new one?

<<As you can see from the document below I purchased your
fine book from Chapters. I was happily working my way through it
when my pc crashed. I lost my password/user name what ever
the term for it is...How do I get a new one?????>>

The password for the tools on the CD is in the introduction for
the book. The password for the Hidden Power action II installer
is: hpa2 on both mac and PC.

-
4. What's the difference between Elements 1 and Elements 2?

<< Just found your site and am wondering how  Photoshop
Elements 1 and 2
differ. >>

Not by much...There are some features that have changed, but
here is the official overview from adobe:

http://www.adobe.com/products/photoshopel/pdfs/aag.pdf

From a Hidden Power standpoint, the tools sets are very similar
and differ in access almost exclusively. PE1 users actually get
an extra tool to allow saves for alpha channels (selections).


-
5. How do I apply Gradient Maps?

<<There must be a more systematic way than trial and error to
apply Gradient Maps. For example, can this be done using the
eyedropper to evaluate the tones in the image and then
translating it to a stop point on the gradient? >>

I do believe exactly this is discussed in Hidden Power, and it is
really the only system I know of that can work. You can't get much
more exact than using the eyedropper to measure a tone and
then apply that measurement to get a result.

Other ways of targeting areas of tone using a sampler to
automate the process would be combining the Hue/Saturation
(p. 108-114) masking technique to target a section of tone, and
use that mask to apply color. Or Curves can be used to make a
mask from specific areas of tone that you can use to isolate
image areas and apply tone. You might want to look at the Blend
Mask techniques on 84-88.

Part of the problem you may be experiencing is that in 300
pages, I couldn't explore every possibility -- I had about enough
room to show you different techniques that can get you results.
ALL of those techniques can be combined in different ways to
produce even more techniques...and you might see from that it'd
go on forever. My experience with selling big books (my last was
900 pages) is that it frightens people, or they can't find things
because there is too much to wade through. My new direction is
to simplify, show the essentials, and fill in as questions come
up.

If you don't see it, ask me. I'll gladly go through this in more detail
if you want. We can also discuss that kind of thing in the new
forum and listen to other people's perspectives (successes and
ideas) beside just my own.


------------------
Actions Corner
------------------
This section will be included to help share information on
Actions and working with them in Elements. I hope to create a
collection of Elements-tested actions, but need reader help. If
you run actions successfully in Elements, and think others would
like to, let me know about them! (rl@...)

1. How come this action won't run through your interface?
2. Where can I get action sets that are compatible with
Elements?


-
1. How come this action won't run through your interface?

<< I have been trying to install the [XYZ].atn and have had no luck
getting it to run in your interface. What's wrong? >>

I've gotten this question from a LOT of people, and that's why I
made it generic. The most common reason that particular
actions won't run include the following:

a. They have not been installed correctly
b. They have capital letters or spaces in the file or action names
c. They are not entirely compatible with Elements.

First, I am very willing to help people get ANY action to run in
Elements, so long as there is no copyright violation possible.
You have to do two things for me: read the instructions included
with the readme files in the installer, and after trying yourself, just
ask me. Maybe that's three things. If you are doing custom
installation with the HiddenPower Actions II package, it is
imperative that you read the advanced.rtf file.

If you look at the above list above, of a-c, I tend to suspect them
in that order. It can be tricky to adjust the code, and especially if
you are doing something like this for the first time, be like Santa
and check it twice. If you really are not comfortable doing an
installation, the new package makes it a LOT easier to deliever
customized stuff. I am not kidding when I say CONTACT ME. If I
create a custom installer for you, I can distribute it to a lot of
people, and in the long-run it'll save everyone a little time. As we
group together a few experts through the Forum, we'll probably
get a brigade together putting effort into creating action sets to
help the less technical people in the group.

Be sure that the action files and names are in all small letters. I
can't tell you how many files I have received to date where the
action file name had caps in it. Capital letters won't work.

There are a few things that happen in actions that are created in
Photoshop that won't work directly in Elements. That doesn't
mean that the action never will. but that they might need to be
adjusted before they do. If you can get an action to run, but it fails,
that is a good candidate to forward to me. We'll take it apart and
fix it. The only thing: be sure you tell me where the action came
from so I can check for potential copyright problems before I
begin.

If you have already sent me an action that you wanted converted
and I haven't done it yet, Please send me a gentle reminder with
the action name.

-
2. Where can I get action sets that are compatible with
Elements?

<<Where can I download action sets that are compatible with
your action package?>>

A very good question.

As the package is a few days old and there hasn't been much
circulation, there are few sets available to add at this point.
However, if we work at it to make those providing actions aware
that I would be very interested in helping them create compatible
sets for Elements users, then I can keep a running list and make
those resources available.

SO...If you happen to visit a site and say to yourself "Gee,
wouldn't it be neat if this guy could make these actions available
for Elements?!?" Drop the action author a note,include my
website and email address, and tell them I'd like to help them
convert their actions.

You can even use this form:

Dear [action author],

I would like to run your actions in Photoshop Elements but don't
see that you have a package availalbe to work with Richard
Lynch's Hidden Power Actions II package for Elements users.
Richard has invited people using the package to contact actions
authors and have them contact him about making the actions
available.

Please visit his site to have a look at the book and free tools:

http://hiddenelements.com
http://hiddenelements.com/freetools.html

And you can contact Richard directly here:

rl@...

Thanks!

[your name]


It is when we get action authors involved in making the
conversions that you'll see an explosion in the amount of stuff
you'll be able to successfully run in Elements.

--------------------------------------------
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

Get it the book here:
http://www.amazon.com/exec/obidos/ASIN/0782141781/newwriti
ng/

Copyright © 2003 Richard Lynch


 

Hidden Power Monthly
February 03, Vol.1
--------------------------

In this issue:
----------------
A Note from Richard
Demo and Free Actions tool released
Hidden Power Site Updated
Tools for the Future?
-------------------
Q&A Selections
Actions News


-------------------------
A Note from Richard
-------------------------
The best put plans of mice and men...sometimes get altered for something better.
I've decided to make a more formal newsletter release once a month to help try
and organize materials. This is the first of these...your feedback (rl@...)
is requested. I'll still be doing quick questions a few times a month as part of
the Yahoogroup, but some people are looking for an alternative way to subscribe.
I'll be able to handle it better this way when I figure out what that
alternative will be...

--------------------------------------------
Demo and Free Actions tool released
--------------------------------------------
I've posted a solution for playing Photoshop actions in Elements on the website.
This has a demo of some of the Hidden Power tools built in. I will soon be
releasing a more flexible actions palette for Hidden Power readers. You can
install both without worry.  Find the free tool here:
http://hiddenelements.com/freetools.html


---------------------------------
Hidden Power Site Updated
---------------------------------
The Hidden Power site has been updated -- and hopefully I killed all the dead
links. If you find any, let me know. The Q&A section is still not complete,
because I may have to switch hosting services to make a database available. If
anyone has suggestions, I'm open to them.


--------------------------
Tools for the Future?
--------------------------
I am working on a Healing tool by popular request. I am not sure when it will be
complete, exactly. However, I hope it will be soon. Please feel free to make
additional suggestions.


------------------
Q&A Selections
------------------
Every month I will be choosing some feature questions for the Q&A in the
newsletter. Get your questions in through the website or by sending them to the
Yahoogroups list (hpe@yahoogroups.com).

1. Curve Editing?
2. Correcting Scans?
3. Maintain Image Quality when Resizing?

-
1. Curve Editing?

<<I expected to be able to click the curves layer and tweak the curves a bit
more (and perhaps to record the adjustment I made for future use). >>

Regretfully it wasn't possible to edit Curves. Well, that isn't entirely
true...editing was too cumbersome to add. You can, however, easily replace a
curve, or add more of them,

If there are cases where you want to re-use a curve, take a screen
shot...and store the curve layer in a template image called mycurves or
something. You can then just drag the Curve layer to a new image without
re-setting the points. If you have ever used a layout program, this would be
like using a library. It isn't a perfect solution, but it will save you time if
you are constantly deploying the same curves and want to automate that.

-
2. Correcting Scans?

<<As I'm scanning the million or so old slides in my Grandpa's collection, I'm
running into a lot where the flash wasn't strong enough or something. What's the
best most accurate way to lighten them up? I've used both the
Brightness/Contrast under the Enhance menu as well as the Backlighting/Fill
Flash options with mixed results. (image attached)>>

Returning to the slides, do they LOOK like your scans? A quick measure with the
Histogram tells me you have an image that has no information over about 40% of
the image (that is, it is nearly completely black but for noise). Either the
image is not being scanned correctly (could be the equipment or the
operation...), or there really isn't enough detail here. If you can see more
detail in the slide than you can see on screen, the scans are bad, not
necessarily the image. Start with correcting your scanning technique, not the
image.

My guess is that you are scanning the slides at home with a transparency
adapter? Many people have these and use them with their scanners expecting to
scan slides, but the truth is you'll never get the result you want (unless you
use a dedicated slide scanner). Adapters are good for scanning large transparent
items (like over-head projector transparencies) not for scanning
slides...seriously, anyway.

My suggestion is: either try to do 2 scans to get more detail, or go get a
professional scan. The latter may be far more INEXPENSIVE than you think. Find
someplace that does Kodak PhotoCD scans. I've used these for years and you can
get quality that gets close to a drum scan. In other words, you'll get the
detail you have in the slide (so long as the operator of the Kodak machine knows
what he/she is doing). These scans can be had for $2 depending on where you get
them done.  You want Kodak Photo CD scans that have 4-5 levels of resolution,
not some low-resolution consumer scan that they do when processing rolls of
film. You will not need Kodak PhotoCD Pro scans, which are for medium format
film (and cost quite a bit more...but still not bad at 6-10$ per image). The
resolution you get may be close to being the same in pixel count, but the image
itself should be far sharper.

The other thing you can try with your home scanner is making two scans. Scan
once to get a 'normal' scan, and then again to get all you can out of the
details. This requires knowing what your scanning software is capable of and
setting white and black points for the scan. In this case, you'll want to set
the white point at about 50% gray, and the black at 100% black. When you make
the scan, you'll get more detail from the shadow information. Then you can
sandwich the scans in layers.

Hidden Power will make a lot less work of this. You could use saturation and
luminosity masking techniques from the book to target changes to the dark part
of the images.

-
3. Maintain Image Quality when Resizing?

<<i'm not sure if there is a way to do this but, if there is a way i would like
to see a tutorial on how to create a higher resolution image from a lower
resolution image without losing its image quality, in other words to take a
small image and make it larger keeping it's quality. >>

You can keep image quality...but not make it better. That is, your image can be
increased in size, but you won't ever add back detail that will make it seem
crisp. Best you can do is sharpen, and that is a calculation. Some people report
good results using fractals...I suggest it is hocus pocus. I use the example of
a broach in Hidden Power...You'll never see more of the intricate detail if you
don't already have it in the image. Even a fancy algorythm won't put it back in
or intuit it.

The amount of information in your image is finite. You can count the pixels, and
there will never be any more of them. To make more, you have to guess, to guess
interpolate, to interpolate...almost necessarily to blur. There are exceptions
(such as increasing the size of a screenshot), but no way you can add more
detail except by taking another picture (or making a higher resolution scan).

Probably not what you want to hear, but it is the reality.


------------------
Actions Corner
------------------
This section will be included to help share information on Actions and working
with them in Elements. I hope to create a collection of Elements-tested actions,
but need reader help. If you run actions successfully in Elements, and think
others would like to, let me know about them! (rl@...)

1. Can I run Photoshop Actions in Elements?
2. Will actions run without Photoshop features?


-
1. Can I run Photoshop Actions in Elements?

<< I remember seeing one of your posts in the Adobe user forum where you
indicated that Photoshop actions could be accessed - although not created - in
Elements.  I'm really looking forward to learning how to do that.  Will those
procedures be included on the web site? >>

I've just made a demo available to run Photoshop Actions in Elements. Find it
here:

http://hiddenelements.com/freetools.html

There are actually a number of ways to run Photoshop actions in Elements. It got
more difficult with PE2 because adobe insinuated a lot of XML stuff which was
supposed to be an enhancement and actually ended up blocking a lot of authors
from creating materials because they couldn't install them. I think mine is one
of the very few (only?) that claims to get recipes/how-to to work. As far as I
know, Adobe still has not released any instructions for how to do it.

Actions can be run in Recipes, Effects and through the Quick Start menu. I can
discuss using actions through the Effects or Quick Start menu. Effects can only
run actions that have a single action in the saved set. Quick Start can run just
about anything, but you need to know the name of the action you want to run
within a given set.

If you have a sample of something you'd like to use that DOES NOT have
restrictions (e.g., copyright, or notice that the actions can be used only "as
is" without alteration), you can forward them and I'll convert them to run in
Elements.


-
2. Will actions run without Photoshop features?

<<This may be a dumb question. Will Actions work with Elements 2 even if
Elements doesn't have a specific Photoshop feature? For example, Elements
doesn't have the selective colour adjustment (via Color Range). If I have an
action that calls Color Range, will it work?>>

Actually, a very good question. There are some functions that won't work
because of the way actions were recorded to work in Photoshop. For example, if a
menu item is different in Photoshop and Elements and the item is picked from the
menu (there is usually more than one way), the action won't play correctly. But
that doesn't necessarily mean it won't work.

If you try an action and it doesn't work, I'd be interested in seeing the
action and adjusting it (so long as there is no copyright violation
involved). The easiest thing to do is try and run it. If it runs and the
results are not what you expect, then it will need adjustment. If it doesn't run
at all, you have either not installed correctly, or the naming scheme for the
file and action won't work with Elements (those can be changed, obviously, as
well).

As for features not being available...many of them are but they don't have
access via the Elements interface. Some actions may surprise you by just running
without alteration, even if you think they won't. Others may require a
work-around. I've found very little that can't be adjusted -- or should I say,
very little that I've not been able to find some solution for.

--------------------------------------------
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

Get it the book here:
http://www.amazon.com/exec/obidos/ASIN/0782141781/newwriting/

Copyright © 2003 Richard Lynch

Get the Demo tools and an interface for running Photoshop Actions in
Elements for free here:

http://hiddenelements.com

Follow the Tools link and click Free Tools. The download file works
for mac AND PC for versions 1 and 2 of Elements. For Hidden Power
readers, a more extensive free interface is on the way. Both can be
customized to run whatever actions you want.

Hope that helps!

Richard Lynch
-----------------------------

<<My Hidden Powers book arrived yesterday and I installed the tools.  Looks
wonderful, can't wait to get started on the book. Will there be a way to use
actions in PSE 2 included later?>>

Glad you asked. I just released a demo of my tools with an interface for running
actions. Those who don't have Hidden Power can use this to run actions in
Elements. Those who have Hidden Power can also use it, and it won't affect
anything.

<<I have your wonderful book and have installed the tools. I have seen the free
action tool...Should I wait for the book owners version and not install the free
action tool ?>>

You can wait for the one that will go inside Hidden Power (it'll be free) and/or
install the demo tools and action package. It is accessed differently and will
just offer additional options. The demo package won't be as extensive...there
are benefits to owning Hidden Power!

Hope that helps! I am looking forward to getting up some links to free action
sites and collecting information about action names to make installation easier.
I look forward to suggestions from anyone.

Richard
http://hiddenelements.com
-------------------------

I'm getting back to setting a schedule for regular release of the
newsletter, but I'm held up a little by busy work. I am currently
working on a tool to more easily run actions in Elements that you
download, and I'm going to be giving that away -- hopefully by the
end of the week. Hidden Power readers can use it, but they may want
to wait for the hidden power reader version (which installs to the
current Hidden Power tools).

The other thing is that a few people (Maybe 5?) have had some little
problems installing the tools. These are mostly errors that I cannot
control. If you experience any trouble installing (most people have
not), try the following:

1. Disable virus protection (!).

2. Locate the file path with the provided browse button ([...]) to
avoid typos (PC).

3. Leave the Overwrite box checked (PC). If you don't installation
will fail.

4. Check the name of the elements directory and be sure it is correct
before installing (MAC -- should be Adobe® Photoshop® Elements for
Elements 1 installations and Photoshop Elements 2.0 for Elements 2
installations.). The installer will not install the files if it
cannot find the folder (though it will tell you it did).

5. Shut off extensions to avoid conflict (MAC). To do this restart
holding the Shift key.

I will be posting more details on this here and on the website. If
you are aware of or have had any other trouble, please contact me.

Richard Lynch
rl@...
http://hiddenelements.com

<<I can't figure out how to apply a drop shadow in Elements that gives me more
variety. I am just not getting enough options in the Styles. Is there a way that
I can create a shadow with more distance, feathering, etc.?>>

I have to assume that if you want to apply a drop shadow that you already know
that you have to separate the object casting the shadow from the resot of the
image (e.g., move it to a layer). If you have already selected the subject that
you want to apply a drop shadow to and it is in its own layer, try this (a
variation on techniques shown in The Hidden Power of Photoshop Elements 2):

1. Start with your figure on its own layer.

2. Press Command/CTRL (Mac/PC) and click on the layer in the layers
palette with the object that will be casting the shadow. The object
will load as a selection.

3. Create a new, blank layer below the layer where your object is
that is casting the shadow (or create one above and drag it below in
the layers palette).

4. Feather the selection by several pixels by choosing Feather from
the Select menu (the larger the image and higher the dpi, the more
you'll want to feather). Or, you can blur after deselecting in step 6.

5. Set the foreground swatch to black (press D on the keyboard).
Choose the Paint Bucket tool and fill the selection on the blank
layer (created in step 3).

6. Deselect (press Command/CTRL + D), choose the Move tool (press V)
and move the shadow into place.

Adjust layer opacity and mode (Multiply mode suggested) to make the
shaddow look as you want.

You can then bend, stretch, blur, and shape the shadow to make it do what you
want because it is on its own layer. Other effects (such as beveling) can be
created in similar ways using a selection of the object that is either blured or
feathered. Understanding basic application of highlight and shadow can lead to
far more complicated application later in shaping objects and creating texture.
You can find all that in Hidden Power's later chapters.

I hope that helps. If anyone gets to a point in an image where they think to
themself "I can't...!" Let me know what it is and we'll get it done.

Richard Lynch
rl@...
----------------------

<< I've heard people say that in using Photoshop or Elements you are only
limited to what you can imagine. Some of the stuff I have seen done by gurus
with digital images is pretty incredible and I wish I had their ability. Could
any gurus share a few of their secrets, shortcuts etc, where they get their
inspiration etc.? Do any gurus really know it all? >>

My experience is that gurus don't often know it all. In fact, most get
interested in a specific aspect of the program and explore that. "Generalists"
usually know the surface of the program, showing a broad knowledge of the
features -- yet often not specific examples where it might be useful to apply
them. Someone who outputs to slides would generally not have to know a lot about
CMYK, and vice versa, someone into print would not always know much about slide
output -- though both will require advanced work.

What I really think you are looking at here is the result. Results, again, in my
experience, come from both working with and learning the program, as well as
learning to see. You develop skills specific to your interest and apply them
varying technique to achieve a result. You learn good and bad ways to do things,
and improve technique. You imagine solutions and create those ends using
techniques you have learned and applied, and match that vision by learning to
see the changes you need to make in the image. You might like something you
see...try and imitate it to see if you can. If you can't, do it again, or ask
how it was done.

Most gurus (I've talked with a few) will let you know that it takes a long time
to master the program. If you are not pre-disposed to the vision (how you want
to see something look) and knowing how to apply changes to create that (e.g.,
via art training or a darkroom background), it will take even longer to get your
results.

The secret I would have is work with the program till it is numbing. I used to
have a photo-correction job. I corrected photos for 60 hours a week...for 5
years. One day not long in, I actually felt like reaching for my mouse one day
on my car's dashboard to adjust the color of the sky because it seemed a little
off to me (it happened at other times...). That may sound funny (made me
laugh...), but the confidence that you can improve on reality is, in some
respects, the ideal. Your images should be better than what you are taking the
picture of, not just as good. When you reach for the mouse when you are
driving...you are starting to have the confidence you need.

Shoot high, take your time, learn new techniques, and apply them. Experiment,
what-if yourself, experiment, SAVE layered files of great results and study how
you got them, experiment. Learn techniques from others, yes, but discover your
interests and learn from your passions and yourself by exercising image
correction every day. And don't be afraid to experiment.

But don't start with an awful image and expect to end with a great one. Make
realistic assessments based on what you know and successes you've had. Better
images come from better source images. You may need to improve technique not
just with Photoshop (or Elements!), but with taking pictures or scanning before
you really get what you want.

So I'd say no gurus know it all already, because a real guru will learn every
day. I learn all the time. The Hidden Power book is a result of learning:
looking at a new program and a new set of tools and using its advantages. In
fact I say in the book I don't think you need all the tools...and I stick by
that. You can get great results using only the tool set I suggest...and it may
be a quicker path to being a guru than studying the ins and outs of lesser
tools.

Richard Lynch
hiddenelements.com
The Hidden Power of Photoshop Elements 2
© Richard Lynch 2003
-----------------------------------------------------

<<Richard, I just got your new book and should be installing the
tools later today. If have to uninstall PE for some reason, I assume
that the Hidden Power tools will be deleted as well? Also, what is
the amount of hard disk space required for the installation? >>

I can't remember the size of the installation of the tools exactly,
but I am sure the installation size is just a few hundred kb (easily
less than half a MB -- if I had to guess, about 250kb). It may be a
little different on Mac and PC (PC will be smaller). While the
installation is pretty tiny, it packs a pretty good punch. It is
mostly code. I strove to make it all as tiny as possible -- except
the type, which should be quite legible.

If you were to delete the Photoshop Elements directory, the tools
will be deleted as well as the installation resides in the Elements
directory. All this stuff is fairly well integrated with the program.
Of course, when you need to, you can always install the tools from
the CD again.

If you are very concerned about space, that concerns me for other
reasons. You might consider normal maintenance to free up some. Also
consider a solution for image storage other than storing all your
images to your hard drive, if that is what you use. Keeping working
images on your hard drive is one thing, but using the hard drive as
an archive just wastes space and can compromise the safety of your
images (if you don't have them backed up). Again, you don't need to
do this for the sake of the Hidden Power tools, but as good practice
to maintain functionality in Elements (which is a pretty demanding
and powerful program). The more space you give Elements to work in,
and the more scratch space, the less likely you are to have trouble
at any time.

Hope that helps!

Richard Lynch
rl@...
If you don't have it, get
The Hidden Power of Photoshop Elements 2 here:
http://www.amazon.com/exec/obidos/ASIN/0782141781/newwriting/
Visit the website for more information:
http://hiddenelements.com
--------------------------

<<I have one hot pixel on my CCD and thought there might be a way to
automate the process of cloning a pixel (say 2 pixels to the right
of it) and then cleaning up that hot pixel. Can that be done? >>

Oh, you can do what you say and it can be automated in Elements or Photoshop,
but I am not sure you really want to do it. You have no real recourse without an
action, but the other thing is, you can't really guesss at a solution -- as you
said. You COULD do an averaging...that is if it were the 13th pixel in the 5th
row of every image you could make a selection that reflected that and replace
the information with an average of the pixels around it. This might be your best
solution. You can't record an action in Elements, but you can play them (this is
some of the basis for the tools included with my new book). I'll have to be
doing a tutorial on running Photoshop actions in Elements sometime soon.

However, what I find odd is that it is an area or pixel. From how MOST cameras
measure, the fault of one pixel in a CCD would make you lose R, G or B
information -- not all three. CCDs read in a filtered RGB grid, like a
checkerboard (unless you have a really expensive camera) ...but the coincidence
would be that the 4 or so CCD sensors that make up the pixel would ALL fail.
Barring this, it would be odd that the calculation of raw data would fail just
one pixel in an image.

My guess (be it a bad one) is that there may be something else in the way. Try
cleaning the lense, and that failing, have someone look to see if the CCD is
messed. I guess it is a technical possibility, but I wonder if the solution
isn't dirt, rather than electronic wizardry.

<<Since I have your attention, one more question - my intended use of Elements
is minor color correction (et al) and printing 4x6's through an online printer,
I have concluded after reading numerous articles and postings that I don't need
the capability of editing in 16 bit and that Elements' 8 bit functionality is
OK.  Is this the right conclusion?>>

16 bit color measures an obscene amount of difference. That is NOT to say it is
unimportant, but it is to say I don't know that I can tell the difference
because I can't make use of the information in output. 4 color printing devices
don't print in 16 bit color. They are lucky to get accurate information out on 8
bits. yet, there is not only hope for the future, but potential for using the 16
bit INPUT information for a better image. That handling is not part of Elements,
but what it would mean is making a simple initial correction of your image in 16
bit to make the best of what you captured -- and then using that to make a
better result. This helps with bad exposures and essentially ruined images.
Unless you really want to work with sub-par image taking, the 16 bit capability
shouldn't matter that much but for extreme situations (wedding photography?).  I
packed a lot in that paragraph that we can expand on with additional questions
if you have any....

shortly: 16 bit is a contemplative advantage. You will very rarely see a decided
difference (there will be a difference, but it may be impossible to tell if it
is meaningful to the result). If you do, you might alter that by using better
editing techniques.

I hope that helps! Please look at The Hidden Power of Elements 2, which is
perhaps the best image editing book I ever read...My copy arrived yesterday, and
it should be available through Amazon soon:

http://www.amazon.com/exec/obidos/ASIN/0782141781/newwriting/

Richard Lynch
ps6.com
----------------------------------

<<How can I extract red eye???>>

You don't really want to 'extract' red eye (extract is a process of
separating part of an image from another), what you want to do is
tone it down. The effect is simply this: eyes glow red in images taken with a
flash on camera in a darkened room...the subject has their pupils wide open
because of the darkness, and the flash goes right inside their eye-ball and
bounces off the blood-vesseled back wall of the eye. What you get on film is
that red reflection, and usually the subject comes off looking a little demonic.

In better lighting, what would happen is the pupil would be smaller
and darker. What you have to do to correct it is either sap the color
from the red, darken the red, or both. I recommend the latter. You could also do
a lot more strenuous things, like rebuild or replace the iris (so the pupil
opening is smaller), but for most cases, this isn't necessary.

Try this:

1. Open the image you want to correct.

2. Create a new layer at the top of the stack and change the mode to
Saturation.

3. Choose black as your foreground swatch color.

4. Select a painting tool, zoom in to the eyes, and paint in ONLY the
red part with the brush (you may have to select a brush that is the
appropriate size). Wherever you paint will desaturate the color.

5. Duplicate the layer, and change the mode to Overlay. This will
darken the dark area of the pupil while keeping the highlights -- which are
important for the result to look realistic. If you just nix the highlight by
painting in with black, the eyes will look dead and empty.

6. Adjust the opacity of the Overlay layer to effect the intensity of
the darkening.

You might also try Softlight, Darken or Multiply mode for Step 5. Each will have
somewhat different effect. If you want some of the red color to come through,
adjust the Opacity of the Saturation layer (Step 2-4). Some people like to use
selection rather than their skills with a paintbrush, and that is fine. Just
make the selection of the red area before step 2.

While there are other ways to do this, there are also less satisfactory
results...'magic' red-eye reduction tools always seem to go part way to me...and
part way to me is like partially setting a broken leg.

Hope that helps!

Richard Lynch
author, Special Edition Using Photoshop 6
The Hidden Power of Photoshop Elements 2 (Dec. 2002)
--------------------------------------------------------------------