First, VTC has been around a while. They offered training cd’s over a decade ago, when the concept was still new. So VTC definitely has a solid background in application training. But the second reason is what caught me: The email was from Mark Vernon,  the founder of VTC.

vtc.com is an online learning library similar to lynda.com, but with 80,000 tutorial videos. We started in 1994, delivering online in 1997, so we’ve been around a bit longer than most.
Check out the library using a 7 day free pass, using promo code “twitter”, at vtc.com/promo
cheers

Mark Vernon

The Virtual Training Company

So please, feel free to sign up and give it a whirl. Read on for a short review of the material as well as my overall opinion.

I actually received this email about two weeks ago.I didn’t publish it then because I wanted to try out some of the videos myself, gather an opinion, and put that into the post for anyone interested. First the bad.

The site design for VTC.com is a bit aged. It’s definitely not as colorful or friendly as Lynda.com. Even the videos tend to feel a little more old school in their presentation and feel. The videos themselves are current (training is available for the Adobe CS4 applications, for example), they just look like they were put together by older technology.

The navigation is a little spartan as well. Lynda offers navigation with multiple drop down menus, allowing me to choose by subject, vendor, application, or even author. VTC offers navigation by subject, and then takes me to a page offering a list of applications. There is a search tool however, so typing in Photoshop will take you to all Photoshop related lessons.

So why would VTC.com use an older platform to showcase their videos?

My guess is that it’s to maintain compatibility with their own LMS (Learning Management System), which allows them to offer their training as a system for corporate clients. This is good and bad. It’s bad because there are obvious limitations to the technology behind the LMS. To maintain compatibility, they can’t go too cutting edge.

But the benefits are numerous. VTC offers courses in English, French, and Spanish, and subtitle captions for several videos. If you’re hearing impaired, speak Spanish or French, or simply like to read along with your videos, then VTC.com is for you. Lynda.com will only give you videos in English, with no captions. It’s good to have choices. I’m actually considering taking some of the Photoshop courses in Spanish (which I speak and read, but only at a basic level) in order to learn the lingo for creative applications in a different language.

They have nearly 80,000 videos, covering a gamut of applications that I never even knew existed. How bout networking and security? How bout learning a new programming language? VTC.com goes beyond the standard creative applications that Lynda.com does (though Lynda.com offers courses on certain niches like Ebay, and WordPress).

They offer Quicktime and Flash, as well as having a High and Low bandwidth option. This can be nice when you’re on the road using a wireless card rather than a dedicated home network. It also helps when you want to view something quickly rather than wait for the higher quality download.

Content wise, the training is solid. Personally, I don’t recognize many of the names of the trainers for either VTC or Lynda, but I’m not necessarily in the e-learning industry, so I don’t know the bigger names as far as online training is concerned. In fact, the one name I recognized instantly on Lynda, Deke McClelland, I recognized from Total Training videos I had viewed.

VTC seems to have hired people from around the world, as is evident by some of the accents. I kinda dig that, but it can also cause me to break concentration when I decide I’m quite happily trying to do an impersonation of the various accents.

On another note, I did recognize the Photoshop instructor, Dwayne Ferguson. Kind of a weird character, but as it turns out, he was the guy behind Mutant League Football. The earth cracks in half during a normal game, radioactive stuff turns players into all sorts of mutants, but wanting to keep earning that paycheck, they play on in a new mutant league. Anyone who knows me knows that mutants playing sports and ripping each others appendages off sounds like something I’d want to watch even now as an adult. Where were we? Oh yes.

VTC offers payment options for one, three, and six months, as well as a yearly. The cost is the same for each of the plans except the yearly, averaging 30 dollars a month. The yearly is priced at 250 dollars. This is about the same as Lynda.com, which offers a monthly of 25 dollars, or a yearly of 250.

Ultimately, it’s difficult to compare VTC to Lynda. They both try to achieve similar goals, but in very different manners. If we were going by style alone, Lynda.com would win. But that’s just window dressing. Content being the main selling point, VTC offers a lot more options and features that Lynda doesn’t match. But if you don’t need to take a course on Sharepoint, then some of the subjects that VTC offers training in may not mean much to you.

My advice is that you take the seven day trial to see if their offering suits you. The promo code will run through the end of April.

The week long pass that I posted about last week expired. It was a very popular post on this blog, so I contacted Lynda.com to see if there were any other trials available or coming up. It took a few days, but they responded.

As I mentioned in my other post, Lynda.com is a good resource for training, and the monthly or yearly cost is a boon to anyone who has an interest in learning more than one application. For my review of the service, read last weeks blog post

Click more to read on about my response from Lynda.com customer service, and the link to the 24 hour pass.

After writing Lynda.com customer service regarding the expiration of the week long pass, I received an email a few days later. Here is their response:

Hello,

We currently do not have any other 7 day trials for you to share but we do have a one day trial, www.lynda.com/freepass/24 Please let us know if you have any other questions.

Thank you for your interest in lynda.com,

lynda.com Customer Service

So, the good news is that there is still a trial available. If you have a day where you can sit in front of the computer or laptop and really poke around, give that link up there a shot.

One thing to note: for some reason when I first went to the link, it didn’t work. I had to click the link twice, or refresh it. This may be because I’m already a subscriber. Just warning ya in case it doesn’t work the first time around.

Second note: They mention that by signing up, you become part of their newsletter, but won’t sell your info or anything. Fair trade for the pass I guess, but that’s a decision for you to make.

Questions, comments? Email me, or post a comment.

UPDATE: The trial offer has now expired. I will do my best to find a new one.

UPDATE 2/17/09: The trial is back on. I believe it will alternate on and off, so try it. if you’re in a rush, try the day pass in my other post. Remember, each one requires an email address.

Lynda.com has always been a great resource for a variety of training. In my experience using them for two years, I find that Lynda offers the best bang for the buck when it comes to training for creative tools. at 25 dollars a month, or 250 for a year, it’s hard to beat their offerings. They have training for all the Adobe apps (which do include the former Macromedia apps), as well as Apple’s own creative suites (Final Cut, Aperture, etc). I could spend another few paragraphs listing it all. Instead, just look at their online training library master list

So, is Lynda.com is a clear choice, a must have? Not necessarily. Read on for the link to the free trial (really, the best way to figure out if you want it), and my opinion on Lynda.com

First, the training varies in length and subjects. Photoshop training used to be more about Photoshop as a graphics editing tool, not really photographer specific. Recently that has changed, but it took a while. Also, they may not have a robust library of videos for the apps you really need.

I found as well that my ability to learn what I was viewing was very dependent on the style of the instructor. Maybe this isn’t true for all of us, but for me, I found people with higher energy like Deke McClelland kept me engaged. Others were the equivalent of online NyQuil.

The training is also basic to intermediate level. I’ve had the opportunity to try out Total Training for various Adobe applications. I really felt their product was better, and really geared towards someone who wants to work in the creative industry. But for 150-200 dollars per course, it had to be. Of course now (years later for me, sigh) they offer online libraries, for 299 a year. A good deal, if you specifically want Adobe, Microsoft, and audio training. Apple users, there’s nothing there for you.

Lynda’s goal is simply to get you comfortable using an application. How far you take it after that is up to you. Because it’s online, the videos are broken up into various sections. I don’t like having to click through video by video, but I do like that I can quickly cover a small topic by clicking on the relevant link. I do this often with Illustrator, where I forget as many shortcuts as I remember, so I’m always running through video snippets to remember what I need.

For an extra fee, Lynda offers access to the work files for certain training, such as PSD’s for Photoshop, and sets of Images for Lightroom. The first year I used Lynda, I had this service. I never used it. I honestly was too interested in learning what I needed to know, then use it on whatever I needed to know it for.

You need an internet connection to view the files, as there’s no offline caching of the videos. So if you were hoping to save hours and hours of training for an especially long road trip or airplane ride, try again. Lynda offers them for some courses, with a per course fee of about 100 dollars for a DVD. No thanks.

In a nutshell, Lynda is a great idea, but far from perfect. It offers basic training, which may not be enough for you. It offers a huge library of application training, but you may not use them all (I basically stick to Adobe, Apple stuff, Cinema 4D, and soon the WordPress training). It has a ton of videos, but no way to view them on anything but a laptop or desktop, maybe a netbook (mental note: get a netbook). And to me, the training really depends on the trainer. You may just soak in the knowledge regardless.

So uh, why am I recommending them? Because, as imperfect as it is, it’s still useful. Lynda is always on top of new versions of applications, even using beta versions to display the new features. This is great when evaluating whether or not you need the upgrade. They’re great about adding new applications. They just added WordPress training. I would have loved that 8 months ago, when PShizzy.com was born, but hey, I’m still gonna view it. All of the new and extra training is including in your monthly/yearly fee. Instead of having to shell out some money to buy a book (so 1986…) or get a new training DVD, I just log in, find the new stuff, and view.

But maybe you’re a book learner. Maybe you want HD quality video. Maybe you want specific training for a specific app to get you up to speed at an advanced level. Maybe Lynda isn’t for you. Why not try it out for yourself first, for one week, for free. Click the yellow link below. UPDATE: The trial offer has expired.

UPDATE 2/17/09: The trial is back on. I believe it will alternate on and off, so try it. if you’re in a rush, try the day pass in my other post. Remember, each one requires an email address.

Click Here for the Trial: Welcome, Fans of Deke.

If you’re a user of the service, please feel free to comment. Questions? Email me.

Everyone has different ways of dealing with this. For some it’s a matter of exposing properly, and then bringing up the shadows in post process, either with something like the Fill Light tool in ACR, or Shadow/Highlight in Photoshop. Using these tools have their problems, as bringing up shadows also brings up image noise. It can also look unnatural if used improperly.

Another method is to expose for the face of the subject, letting the chips fall where they may on the rest of the exposure. Caveats here include nuclearizing your subject’s white uniform, or radiating the entire field if it’s a bright color. Fun fun.

Over the weekend I was shooting the Arizona USSSA Independence Day Classic, a fastpitch softball tournament held over in Pinetop, AZ. With start times of noon, though, getting the entire range of an image captured was difficult. Read on to find out what I did to combat this, from steps I took in the camera, to an action I made in Photoshop that helped with post process. Oh and it’s a downloadable action. =)

Depending on what camera you use, you’ll have a variety of options available to you in order to squeeze the most dynamic range out of your camera. The first and most obvious thing you can do is to shoot RAW. Lots of advantages here, mainly the ability to adjust white balance in post, and having between 12-14 bits of image data to work with. But shooting RAW also means a huge file increase. While most 10mp jpegs are 3-4mb, RAW files can easily be 10-12mb. This increase adds up quickly. I typically shoot 500 or more images per game for youth sports, and that would be 2gb in jpegs, but 6gb in RAW files. Multiply that by the 20 or so games covered over the weekend, and we now are looking at 120gb of storage. While this isn’t a big deal to some, for others, that added overhead can be an encumbrance.

So, what if you just shoot Jpeg, what then? For one, I would reccomend shooting Adobe RGB, but only if you understand now that you must convert to sRGB later, and know what that entails. Viewing an Adobe RGB image on a web browser is a hit or miss proposition and you may get color errors and overall flat color. But using Adobe RGB gives you a wider color gamut. That means that colors that might fall out of the range of what sRGB can “see” may still fall into Adobe RGB. By keeping that information, you can later edit that image with more accuracy. BTW, if you shoot RAW, colorspace isn’t important, as you can do this after the fact.

Newer cameras offer in camera adjustments to help with dynamic range. Nikon offers D-Lighting, which is an adjustable setting that fills in shadows in camera for every image. Not only can you do that as part of the image setting, but you can also edit images after you’ve taken them, and add D-Lighting to them. Nifty.

Canon offers Highlight Tone Priority. It basically shoots an image at a lower ISO than stated, but renders out the image processed properly, keeping the highlights from blowing out. By doing so, you can shoot a little brighter than usual, without blowing out highlights as easily.

Cameras offer different color looks, such as neutral, vivid, portrait, landscape, etc. These images adjust colors and tonality. Since this is all a formula for adjusting certain colors, the adjustment may end up hurting your image. Go with a setting like Neutral, that offers little to no adjustment.

Now you’ve got a pretty basic baseline image to edit, but how to process them?

It may sound crazy, but using noise reduction on your image can be really beneficial, even on low ISO images. This is because, as you edit your image, you will be bringing up your shadows, and doing brightness adjustments, and those effects will be most prevalent in your shadows, which also contains the noise in any image. Here’s a common trick: First change your image to 16-bit mode in photoshop, then use noise reduction. Because you’re working with a larger bit space, any formulas (such as noise reduction) applied to the pixels (which are just number values for colors) will have a larger range of numbers to fall on (after they’re adjusted). Remember, you need that lattitude as you make all your adjustments.

As I stated before, you could use the Shadow/Highlight tool to adjust your images, and it’s pretty effective, but it has it’s issues. For one, it’s not an adjustment layer, so once you save the image, you can’t really undo it. Sure, you can duplicate your layer, but if you don’t like the effect it has on certain parts of the image, you’ll have to use a mask to edit that out.

So, in playing around with a few images, I tried to find a simpler, more automated way to do all this. As I’ve stated before, I’m a huge fan of actions, and have a few articles on the topic. Anytime I can automate a process, I save time, and ultimately that means I can either get my work done faster, or get more work done in the same time. Either way, it’s a win win. In this case, I took 11 steps, and turned it into one shortcut (F4)

You may notice that it says crop, 16 bit, and Noise Ninja in the history pallete. These are not part of my action, as cropping and your noise reduction of choice are all personal preferences. As for 16 bit, just make sure you try that before whatever noise reduction you choose. There are plenty of choices for noise reduction. A few popular ones include Noiseware, Neat Image, Noise Ninja, and others. Some offer free trials, or even free editions that have feature limitations (the killer here is that most of the free versions often limit themselves to 8-bit images only).

On the left here, you’ll see the result of the action. It will maintain your original image as is, but create a separate shadow layer with its own adjustment layer, as well as an adjustment layer for the original, and a hue/saturation adjustment for the entire composition. Since it’s all adjustment layers, you can double click on them and change the settings. If you hide all the layers, you can see the original as is. One thing I noticed after all the adjustments and layers was a bump in saturation. I added a simple hue/saturation adjustment in order to tone it down. You can adjust this to taste as well.

Instructions are simple. Download the action, and install. Hit F4 to invoke the action. Preferably do this on images that are shot in daylight, and try to do this on images that are 16 bit.

If you need further assistance with the action, please feel free to email me (the link is on the sidebar on the right).

The action can be downloaded by clicking on the link below. The name is addon, because it’s only a single action, and I intend to add it onto my PShizzy Action Set 2:

PShizzy Addon

Oh, and I have a small gallery of images from the tournament. All in all, it was a great time. One last tip: If clouds do show up (which they almost never do in Arizona), shoot as much as possible! Cloud cover is like a big softbox for the sun. Use it to your advantage.

The gallery may be seen at:

Independence Day Classic

But it’s there. And in order to explain it, I used Lightroom. Yes, I used Lightroom to explain Photoshop curves. It makes sense if you watch the presentation. I also had to make this more like a video, with full motion captures in order to show the effect of curves on an image.

So, continue on to read about the making of the curves presentation, as well as the link to the presentation.

First, the reason I used Lightroom was simple: Tonal Curves can be adjusted by clicking on the image itself. I like this a lot, because it’s very hands on, while curves is not. If you have Lightroom and Photoshop, try this in Lightroom first, you’ll understand what I mean. In fact, if your workflow involves Lightroom, and it’s not out of place in your workflow, just use Tonal Curve adjustments there. It’s very slick.

Becuase of the full motion video, there were some glitches, display errors with the mouse cursor in Lightroom. I tried to edit the cursor but it just wasn’t happening. So I’ll let it be.

Explaining curves with Lightroom: Easy. Explaining it with words: Very difficult. I could have gone more in depth, but if I did that, I may as well break out the chalkboard and trigonometry examples. I tried to keep it more hands on, and very simple to see the cause/effect of it. I want to keep all my flash presentations light, and simple to take in. That’s also why I try to stick to one topic per presentation. If I tried to do a Photoshop presentation, It’d be the PShizzy.com equivalent of Stephen King’s “the Stand”

I’ve already got more ideas for presentations on the horizon. In fact, I have too many. But I’ll keep em coming

And here is the presentation:

Photoshop Curves

Feel free to leave feedback, especially if you view the presentation. I’d love to know what I did right, what I did wrong, and how to improve that for future topics. I’d also like feedback and ideas for future topics.

To me a gallery is a vehicle for your images. If the images are good, and the pages are easily navigable, you don’t need to bling it out to make it work. So in this video, we create a web gallery in a matter of minutes. It’s so easy, even I was surprised at how quickly I finished the video. Click through to check it out!

If you go through the video, you’ll see that I don’t go through each and every feature (though I do touch on most of them). That’s intentional. Rather than inundate you with too much information, I give you the basic info you need to create your web gallery. How far you take it after that is up to you. That’s how you learn. If you wanted an overview of each and every feature, you’d get a book =)

As always, I appreciate your comments and thoughts on the video. I need your help to really guide the direction and scope of this blog. I could make it more advanced, or more in depth, with longer videos and accompanying files or information to make for a very robust instruction, or I can keep it simple enough to follow along and quickly get going. The choice is up to you. I went with simple because it’s easier for me to turn around a video in a few hours, and I can focus on a topic with each presentation.

Without further ado:

Adobe Photoshop Web Gallery

I’ve received quite a few comments on my black and white conversion, and I finally decided it would be best to post my own personal workflow on the process. My method by no means tries to be scientific nor accurate, only pleasing to my own eyes. I did not invent anything here, I picked up some info from various books and over time, found the following method to give me the most pleasing results. Hopefully you will find some use in the following.

First, we need a test file, so please download the following raw file (Note: this is a 1D tif file, and I renamed it to all lowercase, so if Photoshop tries to open as TIF, rename it to .crw or something). I’m also including a link to my PShizzy 2 Action Set, since I won’t go into exact detail how it converts to B/W

Ortega (1D RAW file, please use save link as)
PShizzy Action Set 2

Open up ortega.tif in ACR, and use the follow settings (which you might want to save for future reference, I call it “flat”): 0 everything out, from exposure to saturation, and make sure in the next tab, that sharpness and color noise is also set to 0. White balance is on a per picture basis, but for this example, please use ACR’s Tungsten setting, which is temp 2850, tint 0. Go ahead and and hit ok to get the file into Photoshop. If you haven’t loaded a 1D raw file before, please make sure that you have your file set to 16 bit and Adobe RGB

Looks pretty flat huh. That’s on purpose. Good B/W photography is about tonality, which is the range from black to white. Good tonality often means overcontrasted images, because it tends to seperate the subject from the background, and adds a heavy feel to the image. This in turn lends itself best to certain dramatic subjects and events. This is why boxing photography, photojournalistic features, and film noir tend to use b/w. This lets us focus on things other than color. Form and contrast end up becoming more important. If we process the image into B/W by using ACR, or by using an in camera B/W converter (such as in the 20D), then we lose control over our image. The computer, who has no idea of what is and isn’t important, does all the work. It cannot bias its conversion (as we will do) to favor the subject. We can manipulate the work that our camera gives us after it has already converted, but we are then working with an incomplete deck, as we are only receiving a fraction of the photographic information taken in by our camera.

Anyhow, the file looks flat. At this point, I usually use noise reduction softwate to take away some of the color noise. The bad news is that these plugins cost money. The good news is that black and white conversion doesn’t really need this. The grain in the noise tends to look “interesting” and “gritty” so it’s not necessarily bad. So let’s move on.

So far, we’ve open the image in ACR, processed it flatly, and noise reduced. Feel free to crop a little (I did, just on the top and right). From there, the next step is pretty easy: Use the PAS2 B/W converter to get your image into grayscale. Explanations on that are in the PAS2 thread, complete with instructions for it.

But PAS2 is half the battle. Really all it does is use the LAB mode to extract the luminosity. I won’t say this is the best way to convert to B/W for accuracy, but I will say it’s better than desaturating. Try desaturating a solid green blue or red, and you’ll see it gets taken to 128 across the board, which means that fire engine red or nuclear chroma green somehow becomes neutral gray. . . seriously, that makes no sense. With LAB, it tends to max out at about 220 across the board, which makes sense… as those colors, no matter how nuclear, would never be true white, but they should definitely never be neutral gray. Those of you who swear by using color mixer, I’m not saying you’re wrong. Color mixer is a great way to convert, but it is a biased conversion, where LAB is based only on lightness. Also, I just couldn’t make an action for color mixer, since a good conversion requires user input. So there.

PAS2 leaves you with 2 layers, the background (original) color layer, and a new b/w layer over it. Go ahead and delete that color layer if you like. I sometimes mess with it and use it to create old print looks (muting it and overlaying it over the b/w), but for this, it can go.

Curves: Learn it, live it, love it. Levels is nice, but it’s very underpowered. You can only control the ends, and pinch your contrast, then bias your midtone. Curves lets you set multiple points in order to determine the distribution of the values. This means you could use your midtones as your highlights, or your shadows as midtones (seriously). Now, this doesn’t mean you can under or overexpose your shots and miraculously save it with curves. It just won’t work. Curves doesn’t make a picture, it makes a picture better.

My method uses between 2 and 4 points (sometimes more, but rarely). It’s best to do it in a certain order, because figuring out your first point usually makes the second and subsequent points easier to determine. First, we start by opening curves, and we’ll notice the line thru the box. This just shows the basic representation between input and output. Say we take a value of 128 input and set it to 192 output. This basically takes our midtone (128) and sets it to 3/4 tone, more of a highlight. Everything between 0 and 128 now is redistributed to go between 0 and 192, and everything from 128 to 255 gets pushed to go between 192 and 255. Don’t worry about posterization too much if you shot raw. 12 bit data means you have 4096 levels of red green and blue within the image, despite only showing you a range of 255. Think of those extra values as fractions that get rounded later. They definitely come in handy. Oh, ya, another thing… shoot raw when you can for B/W. It’s just better.

BTW: Do not hit OK after each point is set. You need to set all the points in one curves to work this right.

First Point: Go ahead and open up curves and move it out of the way of your image, so you can see it well, because curves lets you live preview what you’re doing, and this is necessary to feel your way to the right tonality. go ahead and click a point in the midtone area, then drag it up. You may get some nuclearness going, but this is just fine. In fact, it’s reccomended. Often, people get scared to go over the edge. This is true for curves, for sharpness, for a lot of things. Just do it. Heres what I chose, btw: input 128, output 220. I got this by grabbing my midtone (128), and pushing it up until our fighter Ortega looks pretty bright. Remember, this is about him, not anything else, so if we blow out the ring ropes, or black out the background, who cares. HE IS THE FOCUS. Heres a pic of the curves dialog box and my image, so you can follow along visually.

Notice the top right of the curves, it just flatlines at the top. That means all those flatlined values will become 255, which you can see leads to blowouts.(such as Ortega’s chest and speculars on the face). This is called crushing your white. When you flatline at the bottom, that’s called crushing your black. This is usually bad. This will get fixed. We just needed to set that first point, and we’ll uncrush later. But for now, we got our highlight area figured out.

Second point: Let’s get our shadows. Make a new point around the first quarter area (use the lines to guide you… first line is first quarter, second line is mid, third is third quarter, end is fourth) and drag it down til you get some good contrast on our pal Ortega. I got something like input 64, output 34, which now makes the image look like this: Looks pretty good to me. Now let’s uncrush.

Third point: This one, and other points past the second are sometimes optional. Sometimes, the first two points lead to no flatlines. In those cases, don’t bother with this, as it’s pointless. But most times, especially in B/W, you will need to uncrush. First lets uncrush our highlights, as they’re much more noticable. Make a new point somewhere between the first point (our highlight point), and the end. Drag it down til you have no more flatlines, but be careful to not pull down too much. If it is not possible, you may need 2 points in here. Usually 1 point is enough. A note of caution: Never set a point to create a dip in the highlights or a bump in the shadows. This is like value switching and creates funky effects. Just make sure that as you go to the right, your curve always goes up, and as you go left, your curve always goes down. You can make it almost straight, but never have a curve go away from the grain, this is bad. Anyhow, make the third point, and have it kill your flatline. I used input 166 output 247, which looks like:

Fourth point: Same concept as third point, but for shadows. Grab a point between the leftmost line (the beggining) and your shadow point. Pull it up to curve the lower flatline. I used input 38, output 7, which looks like:

And there you have it. Obviously, this is to taste, so you could go ahead and edit your first point to lower the contrast, or raise it even more. You can do the same for the shadows. And uncrush points work off those, so those can be moved around too. It’s all in the eye. After I finished that curves, I went ahead and used the PAS2 Web Long action to get the final product, as seen below.

I hope this helped, as I know B/W conversion can be a bit of a mystery, so I hope this post clears some of the mystery up

By reading the rest of this post!

In this video we build upon the first video. In fact, I reference the original action we created, because it could work as a batch folder action if we tweaked it a little.

Tweaking it isn’t nearly as hard as it may seem, and you don’t have to start another action from scratch, so get that idea out of your head, see the video, and jump on into photoshop and fix your action.

Oh and there will be more. This is just the tip of the iceberg when it comes to actions.

Enjoy

Actions II: Making Your Action Batch Friendly

Keep the comments coming. I intend for this blog to cover a lot of territory, but I need to know what’s on your mind so I can concentrate on the important stuff first.