Fix for Photoshop Action Pack Installation

If you’ve been having trouble getting the Photoshop Action Pack to install, it’s possible that your copy of Photoshop is not properly registered with the OS routines that help Automator find the actions that are associated with each application. This simple script will force Photoshop to re-register itself with the appropriate OS routines. If you’re having trouble getting the Photoshop Action Pack to appear in Automator, quit Automator, then drag your copy of Photoshop onto the Application Updater script. When it’s done processing, re-launch Automator and you should see the Action Pack actions.

Epson Stylus Pro 3800 reviewed

Over on, I posted a short review regarding Epson’s latest professional-level printer, the 17-inch Stylus Pro 3800.

The 3800 is a funny beast—it has the best print quality of any previous Epson printer, and it is priced in a place where it has no real competitor. There is no roll-feed attachment—17 by 22 inches is the largest standard size it will print on—and it doesn’t have the whiz-bang features that HP and Canon are putting into their pro-level printers, like automatic addition of paper profiles, a Photoshop plug-in, and fancy calibration tools. And, while it fixes the physical ink swapping found in the Stylus Photo R2400 and the Stylus Pro 4800, it still does have to go through a purge cycle when you go back and forth between matte- and glossy-finish paper types.

That said, print quality and repeatability are often what pro photgraphers want most, and the 3800 has that in spades.

Notes on Depth of Field

depth of field

Depth of field is sometimes an issue for digital photographers, mostly because most digital cameras lack the ability to shoot shallow depth of field. With their small sensor sizes, digital point-and-shoots, and cropped sensor SLRs simply have very deep depths of field. If you want to shoot with shallow depth of field with these – or any other camera – then you need to think carefully about how to expose your shot. To get the most out of your depth of field efforts, it’s important to understand exactly how depth of field is affected by your exposure and lens choices. In this article, we’ll explore a common misconception about depth of field.

Creating an Integrated iPhoto/Capture NX Workflow

Capture NX

If you’ve played at all with Nikon Capture NX, you already know that it has some of the best editing tools on the market (if you haven’t played with it, a free demo version is available here). But, if you’re used to the workflow management and output features of Apple’s iPhoto, you may be reluctant to give up iPhoto’s powerful library features to switch to a Finder-based workflow driven by the Capture NX file browser. Fortunately, there’s a very easy way to integrate the two programs. With an integrated iPhoto/NX workflow, you can import and organize your images in iPhoto, but edit them using Capture NX’s superior raw conversion options and localized editing tools.

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Match Color in Photoshop CS2/CS3

Match Color

With Photoshop CS2, Adobe added the Match Color feature which lets you alter the palette of one image to look like another. Match Color can be used for everything from slight tonal corrections, to ensuring that an image fits better with a design scheme or other imge., a "blog with everything" has an excellent demo of how you can use Match Color in conjunction with famous classical paintings to perform dramatic color adjustments. Check it out here.

Capture NX and the Nikon 10.5mm Fisheye Lens

Capture NX

Nikon Capture NX provides an excellent auto correction edit for removing distortion from images shot with the Nikon 10.5mm fisheye lens. Though I mention this feature in Real World Capture NX, I didn’t have enough room in the book to include examples, so we’re going to look at the specifics of this feature here. With the Fisheye Lens edit, you can create cropped, rectilinear images with a single click.

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Bruce Fraser dies at 52

With great sadness, we heard this morning that our good friend, Bruce Fraser, passed away on Saturday, Dec. 16, 2006.

To many of us, Bruce was “Mr. Photoshop‚” and/or “Mr. Color Management.” He was the author or co-author of a number of the most successful computer titles of all time, including Real World Photoshop and Real World Camera RAW, as well as one of the founders of PixelGenius. To many people throughout the digital imaging industry, Bruce was an icon, but an approachable soul who was unstintingly fair in his criticism and generous with his time. Our thoughts go out to his family and close friends. He will be missed.

Bruce and I worked together for more than 15 years, starting with my time at MacWEEK, and continuing through my recent tenure at Macworld. A remembrance of Bruce has been posted there.