Digital Photography I The Basics Peter Liu Photography kaiscapes .com

Photography From two Greek words meaning “drawing with light”: φως phos ("light") γραφις graphis ("stylus", "paintbrush") Merriam-Webster: “ The art or process of producing images on a sensitized surface (as a film) by the action of radiant energy and especially light.”

From two Greek words meaning “drawing with light”:

φως phos ("light")

γραφις graphis ("stylus", "paintbrush")

Merriam-Webster:

“ The art or process of producing images on a sensitized surface (as a film) by the action of radiant energy and especially light.”

Photography “ The art of capturing light as it falls on a subject or scene, and rendering it so that your viewer is moved by the result.”

“ The art of capturing light as it falls on a subject or scene, and rendering it so that your viewer is moved by the result.”

Capturing Light Hard Light – high contrast, well-defined shadows

Hard Light – high contrast, well-defined shadows

Capturing Light Soft Light – diffused, rich colors

Soft Light – diffused, rich colors

Capturing Light Overhead Light – harsh shadows

Overhead Light – harsh shadows

Capturing Light Front Light – flat, lacks dimension

Front Light – flat, lacks dimension

Capturing Light Side Light – evokes mood, accentuates shapes

Side Light – evokes mood, accentuates shapes

Capturing Light Back Light – may need to fill, makes silhouettes

Back Light – may need to fill, makes silhouettes

Capturing Light Overcast Light – low contrast, muted shadows, good for detail

Overcast Light – low contrast, muted shadows, good for detail

Characteristics Of Light Quality The smaller the light source, the harder the light appears The larger the light source, the softer the light appears Direction Determines where shadows fall Contrast Difference between the lightest and darkest tones of the subject or image Source Ambient – daylight, tungsten, flourescent, firelight Artificial – flash, tungsten Intensity Reflectance Reflectivity of the subject Intensity of the light source Angle of view Distance of light source Fall-off Increase distance, decrease light level (Inverse Square Law)

Quality

The smaller the light source, the harder the light appears

The larger the light source, the softer the light appears

Direction

Determines where shadows fall

Contrast

Difference between the lightest and darkest tones of the subject or image

Source

Ambient – daylight, tungsten, flourescent, firelight

Artificial – flash, tungsten

Intensity

Reflectance

Reflectivity of the subject

Intensity of the light source

Angle of view

Distance of light source

Fall-off

Increase distance, decrease light level (Inverse Square Law)

Characteristics Of Light Color Mixture of primary colors: Red, Green and Blue – varies according to source “ Warm” – predominantly red “ Cool” – predominantly blue Expressed in Kelvin (K): Incandescent ~ 3000K Fluorescent ~ 4100K Flash ~ 5400K Daylight Direct Sunlight ~ 5200K Cloudy ~ 6000K Shade ~ 8000K Referred to as “White Balance” in digital photography.

Color

Mixture of primary colors: Red, Green and Blue – varies according to source

“ Warm” – predominantly red

“ Cool” – predominantly blue

Expressed in Kelvin (K):

Incandescent ~ 3000K

Fluorescent ~ 4100K

Flash ~ 5400K

Daylight

Direct Sunlight ~ 5200K

Cloudy ~ 6000K

Shade ~ 8000K

Referred to as “White Balance” in digital photography.

White Balance 4100K ( Fluorescent ) 3000K ( Incandescent ) 5200K ( Sunlight ) 8000K ( Shade ) 5400K ( Flash ) 6000K ( Cloudy )

Why Are You Telling Us All This?? Because good photography depends on being able to execute two things well: Exposure Composition

Because good photography depends on being able to execute two things well:

Exposure

Composition

Exposure A combination of three factors sometimes known as the “Photographic Triangle”: Shutter Speed Aperture ISO Or… how quickly light is being captured through how big an opening onto how sensitive a surface

A combination of three factors sometimes known as the “Photographic Triangle”:

Shutter Speed

Aperture

ISO

Or…

how quickly light is being captured through how big an opening onto how sensitive a surface

Shutter A camera’s shutter covers the hole through which light enters to expose the sensor or film. The shutter release button causes the shutter to open for a certain amount of time, then close again. Image source: www. howstuffworks .com Image source: VisibleDust

A camera’s shutter covers the hole through which light enters to expose the sensor or film.

Shutter Speed – Fast 1/1600 sec., stops action

1/1600 sec., stops action

Shutter Speed – Slow Silky, cool, edgy effects 1 sec. 3 sec. 1/3 sec.

Silky, cool, edgy effects

Shutter Speeds Open too long, photos are washed out (overexposed) Not long enough, photos are too dark (underexposed) Expressed in seconds: 1/8000, 1/4000, 1/2000 1/1000, 1/500, 1/250, 1/60, 1/30, 1/15, 1/8, 1/4, 1/2, 1 second, 2 seconds, etc. Each setting is half or double the speed of its neighbor. As the amount of available light decreases by half, the shutter speed needs to slow by double. As the amount of available light increases, the shutter speed needs to increase

Open too long, photos are washed out (overexposed)

Not long enough, photos are too dark (underexposed)

Expressed in seconds: 1/8000, 1/4000, 1/2000 1/1000, 1/500, 1/250, 1/60, 1/30, 1/15, 1/8, 1/4, 1/2, 1 second, 2 seconds, etc.

Each setting is half or double the speed of its neighbor.

As the amount of available light decreases by half, the shutter speed needs to slow by double.

As the amount of available light increases, the shutter speed needs to increase

Aperture The opening through which light enters the camera. Sometimes called an iris because it imitates the opening in the human eye. Image source: www.howstuffworks.com

The opening through which light enters the camera.

Aperture The size of the opening is expressed as an f-stop number : 1.4 2.0 2.8 4 5.6 8 11 16 22 Each number represents an opening size that is half or double its neighbor The larger the number, the smaller the opening For all the science types: the f-stop is actually a ratio between the diameter of the aperture in the lens and the focal length of the lens: e.g. f/2 on a 50mm lens says the aperture is 25mm. 50/25 = 2. (Source: “ A Tedious Explanation of the f/stop” by Matthew Cole) For the rest of us: the size of the opening controls the depth of field in the photograph.

The size of the opening is expressed as an f-stop number : 1.4 2.0 2.8 4 5.6 8 11 16 22

Each number represents an opening size that is half or double its neighbor

The larger the number, the smaller the opening

For all the science types: the f-stop is actually a ratio between the diameter of the aperture in the lens and the focal length of the lens:

e.g. f/2 on a 50mm lens says the aperture is 25mm. 50/25 = 2.

(Source: “ A Tedious Explanation of the f/stop” by Matthew Cole)

For the rest of us: the size of the opening controls the depth of field in the photograph.

Aperture And Depth Of Field f/5.6 Shallow depth of field f/22 Deep depth of field

f/5.6

Shallow depth of field

Aperture And Depth Of Field Caused by refraction of the light hitting the edge of the opening Rays scatter and overlap instead of going straight on its way to the sensor or film The camera “sees” multiple images, resulting in blur. The smaller the opening, the less surface available to scatter the light, resulting in less blur. Bottom line: the aperture is used to control how much of the scene is in focus.

Caused by refraction of the light hitting the edge of the opening

Rays scatter and overlap instead of going straight on its way to the sensor or film

The camera “sees” multiple images, resulting in blur.

The smaller the opening, the less surface available to scatter the light, resulting in less blur.

Bottom line: the aperture is used to control how much of the scene is in focus.

Aperture And Shutter Speed The following reciprocals will yield the same exposure: What changes is how much is sharp and in focus. 1/8 sec. f/22 1/15 sec. f/16 1/30 sec. f/11 1/60 sec. f/8 1/125 sec. f/5.6 1/250 sec. f/4 1/500 sec. f/2.8

The following reciprocals will yield the same exposure:

What changes is how much is sharp and in focus.

The Light Meter A device that assesses a scene and figures out the correct exposure Modern cameras have them built-in External handheld models also available Engaged when shutter is pressed halfway Matrix/Evaluative, Center-weighted, Spot metering Looks for “18% Grey” or “Middle Grey” Easily fooled!

A device that assesses a scene and figures out the correct exposure

Modern cameras have them built-in

External handheld models also available

Engaged when shutter is pressed halfway

Matrix/Evaluative, Center-weighted, Spot metering

Looks for “18% Grey” or “Middle Grey”

Easily fooled!

Tricky Metering Situations

Exposure Compensation Used when the light meter is unable to evaluate the exposure as desired, or when correcting by whole stops is too much Usually +/- 2 EV (Exposure Value) in steps of 0.3 EV Available on most cameras

Used when the light meter is unable to evaluate the exposure as desired, or when correcting by whole stops is too much

Usually +/- 2 EV (Exposure Value) in steps of 0.3 EV

Available on most cameras

ISO Sensitivity of the sensor or film to light Represented by a number assigned by the International Standards Organization (hence, ISO) – 100, 200, 400, 800, etc. Again, each number represents double or half the sensitivity of its neighbor (Ain’t it wonderful!) The higher the number, the more sensitive to light Digital photography is cool because you can change the ISO from shot to shot! 

Sensitivity of the sensor or film to light

Represented by a number assigned by the International Standards Organization (hence, ISO) – 100, 200, 400, 800, etc.

Again, each number represents double or half the sensitivity of its neighbor (Ain’t it wonderful!)

The higher the number, the more sensitive to light

Digital photography is cool because you can change the ISO from shot to shot! 

Higher ISO = More Noise!  ISO 3200

ISO 3200

So… Exposure depends on: Shutter Speed – how fast Aperture – how much ISO – how sensitive And color is a function of: White Balance – how hot

Exposure depends on:

Shutter Speed – how fast

Aperture – how much

ISO – how sensitive

And color is a function of:

White Balance – how hot

And… Which camera you choose is a function of how much you want control those factors!

Which camera you choose is a function of how much you want control those factors!

Cameras Two popular types of cameras on the market for the consumer Point-and-shoot SLR (Single-lens Reflex)

Two popular types of cameras on the market for the consumer

Cameras Point-and-shoot Viewfinder separate from lens Small and compact Fixed lens Shutter delay Usually fully automatic (some exceptions, like Olympus C-series) SLR (Single-lens Reflex) Based on 35mm design Actual image seen in viewfinder Interchangeable lenses (more flexible composition) Ability to use filters More advanced metering and shutter system Little to no shutter delay Automatic, Program (“Scene”), Shutter Priority, Aperture Priority and Manual modes Flash hot shoe Pro models may not have pop-up flash or Program (“scene”) modes

Point-and-shoot

Viewfinder separate from lens

Small and compact

Fixed lens

Shutter delay

Usually fully automatic (some exceptions, like Olympus C-series)

SLR (Single-lens Reflex)

Based on 35mm design

Actual image seen in viewfinder

Interchangeable lenses (more flexible composition)

Ability to use filters

More advanced metering and shutter system

Little to no shutter delay

Automatic, Program (“Scene”), Shutter Priority, Aperture Priority and Manual modes

Flash hot shoe

Pro models may not have pop-up flash or Program (“scene”) modes

Point-and-shoot Anatomy Viewfinder separate from lens (better to use LCD on digital) Actual image (as exposed) is not quite the same as in the viewfinder Much simpler design than SLRs. Light Path Lens Camera Body Viewfinder (front) Shutter Sensor or Film Viewfinder Focal Length LCD Screen (Digital)

Viewfinder separate from lens (better to use LCD on digital)

Actual image (as exposed) is not quite the same as in the viewfinder

Much simpler design than SLRs.

SLR Anatomy Through-the-lens (TTL) viewing (works like a periscope) Actual image (as exposed) is shown in the viewfinder Mirror flips up when the shutter release is pressed, exposing the sensor (and blacking out the viewfinder) “ Reflex” comes from the use of the mirrors in the viewfinder system. Light Path Lens Camera Body Focusing Screen Mirror (Pentaprism) Mirror (flips up) Shutter Sensor or Film Viewfinder Focal Length LCD Screen (Digital)

Through-the-lens (TTL) viewing (works like a periscope)

Actual image (as exposed) is shown in the viewfinder

Mirror flips up when the shutter release is pressed, exposing the sensor (and blacking out the viewfinder)

“ Reflex” comes from the use of the mirrors in the viewfinder system.

Advantages Of Digital Instant gratification (big fun factor) – see your images right away No film cost – shoot as many as you want, erase and shoot again (heck, it’s just pixels!) Convenience – print, email, web, slide shows; no waiting around for the photos to come back from the store Easier to make copies – no need to send (or lose) originals Easier to manipulate – no scanning required (you did that when you pressed the shutter) No need to spend hours in the darkroom Black-and-white – just shades of grey colors No worries about film fading over time; digital images last for as long as your storage media doesn’t die on you Less storage space – no physical shelves to keep stacking Metadata information available for indexing and cataloging.

Instant gratification (big fun factor) – see your images right away

No film cost – shoot as many as you want, erase and shoot again (heck, it’s just pixels!)

Convenience – print, email, web, slide shows; no waiting around for the photos to come back from the store

Easier to make copies – no need to send (or lose) originals

Easier to manipulate – no scanning required (you did that when you pressed the shutter)

No need to spend hours in the darkroom

Black-and-white – just shades of grey colors

No worries about film fading over time; digital images last for as long as your storage media doesn’t die on you

Less storage space – no physical shelves to keep stacking

Metadata information available for indexing and cataloging.

Disadvantages Of Digital Image quality As good or better than 35mm in the right hands , but cannot compete with medium or large format film (yet) 1.5x “cropping factor” or “focal length multiplier” in SLRs due to smaller sensor Exposure much more critical – 1/3 stop subtle in Velvia, but blatant in digital Blown highlights – no information means no information; film is better at rendering overexposed areas more naturally Great shadow detail, but clipped highlights -- traded highlight detail for lower noise; most likely need to underexpose and correct in post Skilled user needed to extract the image quality equivalent to that of good film Very different workflow – requires skill with computers and software, knowledge of color management and printing, web, email, etc. You are the photo lab – you’ve traded darkroom chemicals for a digital darkroom Easy to lose images – memory cards can become corrupted in-camera; photos are scattered all over your computer; hard drives die Slow – camera is locked up once the buffer is filled until the images are completely written to the card Shutter delay (point-and-shoot) Digicams are much more expensive than film cameras and become obsolete sooner Slide shows – projectors designed for business graphics render poor photographic quality and awful color. More megapixels = bigger files = more storage + faster computers

Image quality

As good or better than 35mm in the right hands , but cannot compete with medium or large format film (yet)

1.5x “cropping factor” or “focal length multiplier” in SLRs due to smaller sensor

Exposure much more critical – 1/3 stop subtle in Velvia, but blatant in digital

Blown highlights – no information means no information; film is better at rendering overexposed areas more naturally

Great shadow detail, but clipped highlights -- traded highlight detail for lower noise; most likely need to underexpose and correct in post

Skilled user needed to extract the image quality equivalent to that of good film

Very different workflow – requires skill with computers and software, knowledge of color management and printing, web, email, etc.

You are the photo lab – you’ve traded darkroom chemicals for a digital darkroom

Easy to lose images – memory cards can become corrupted in-camera; photos are scattered all over your computer; hard drives die

Slow – camera is locked up once the buffer is filled until the images are completely written to the card

Shutter delay (point-and-shoot)

Digicams are much more expensive than film cameras and become obsolete sooner

Slide shows – projectors designed for business graphics render poor photographic quality and awful color.

More megapixels = bigger files = more storage + faster computers

Which Is Better? The apple or the orange? Each has their respective strengths and weaknesses. It all depends on what you’re trying to accomplish. Everything in photography is a trade-off.

The apple or the orange?

Each has their respective strengths and weaknesses.

It all depends on what you’re trying to accomplish.

Everything in photography is a trade-off.

Choosing A Digital Camera The number of megapixels isn’t everything! More is not necessarily better, But more can be an advantage when cropping or printing big.

The number of megapixels isn’t everything!

More is not necessarily better,

But more can be an advantage when cropping or printing big.

Megapixel Madness

How Many Pixels Do You Need? Assume 300 dpi (dots per inch) for a good quality print on a desktop printer Break down megapixels to length and width, then divide by 300 e.g. 6MP ~ 3008 x 2000 pixels (Nikon D70) 3008/300 = 10.027 in. 2000/300 = 6.667 in. BUT, different printers have different requirements Software can help upsize or downsize with varying results Large fudge factor, depending on chosen application and printer technology.

Assume 300 dpi (dots per inch) for a good quality print on a desktop printer

Break down megapixels to length and width, then divide by 300

e.g. 6MP ~ 3008 x 2000 pixels (Nikon D70)

3008/300 = 10.027 in.

2000/300 = 6.667 in.

BUT, different printers have different requirements

Software can help upsize or downsize with varying results

Large fudge factor, depending on chosen application and printer technology.

Digital Camera Resolution Chart (Source: B&H Photo-Video-Pro Audio )

So, How Do I Choose A Camera? Ergonomics – how does it feel in your hands? Size and weight of the camera Size and quality of the LCD Lens quality Sharpness Distortion Zoom capability (optical vs. digital) Digital zoom is evil!  Metering capability Built-in flash Red-eye reduction Can you control it? Manual capability vs. automatic or program modes Battery life Media type Decide what’s important to you based on how you’ll be using it!

Ergonomics – how does it feel in your hands?

Size and weight of the camera

Size and quality of the LCD

Lens quality

Sharpness

Distortion

Zoom capability (optical vs. digital)

Digital zoom is evil! 

Metering capability

Built-in flash

Red-eye reduction

Can you control it?

Manual capability vs. automatic or program modes

Battery life

Media type

Decide what’s important to you based on how you’ll be using it!

About The Cards Pick One Compact Flash SD MiniSD xD MultiMediaCard RS-MMC (Reduced-Size MultiMediaCard) SmartMedia Memory Stick Image source: Lexar

Pick One

I Bought A Camera… Now What? Charge the battery Format the card Set up the camera Date and time Bells and whistles (literally!) Digital zoom – if you can turn it off, do it! Mode: Auto, Program, Aperture Priority, Shutter Priority, Manual ISO White balance Color space (Never mind!) Image quality and file type JPEG (Joint Photo Experts Group) – in-camera processing, lossy (small, medium, large), 8-bits (256 shades of color) per channel (16.7 million colors) TIFF (Tagged Image File Format) – in-camera processing, uncompressed, lossless, 8-bits per channel RAW – direct output from the sensor, little to no in-camera processing, 12-bit (4096 shades of color) per channel (68.7 billion colors) What are you waiting for?? Go shoot pictures!

Charge the battery

Format the card

Set up the camera

Date and time

Bells and whistles (literally!)

Digital zoom – if you can turn it off, do it!

Mode: Auto, Program, Aperture Priority, Shutter Priority, Manual

ISO

White balance

Color space (Never mind!)

Image quality and file type

JPEG (Joint Photo Experts Group) – in-camera processing, lossy (small, medium, large), 8-bits (256 shades of color) per channel (16.7 million colors)

TIFF (Tagged Image File Format) – in-camera processing, uncompressed, lossless, 8-bits per channel

RAW – direct output from the sensor, little to no in-camera processing, 12-bit (4096 shades of color) per channel (68.7 billion colors)

What are you waiting for?? Go shoot pictures!

Recall… Good photography depends on being able to execute two things well: Exposure Composition

Good photography depends on being able to execute two things well:

Exposure

Composition

Composition “ The art of including the essence of what moves you about the scene in your photograph, while excluding any non-essential, distracting elements.”

“ The art of including the essence of what moves you about the scene in your photograph, while excluding any non-essential, distracting elements.”

Composition There are established “guidelines”, but ultimately, it’s about your artistic vision Very subjective Not always a conscious thing – listen to your heart! Simplify, Simplify, Simplify!

There are established “guidelines”, but ultimately, it’s about your artistic vision

Very subjective

Not always a conscious thing – listen to your heart!

Simplify, Simplify, Simplify!

Simplify

Simplify

Simplify

Simplify

Simplify

Simplify

Composition “ You take the picture, but you make the photograph.” It’s about seeing the photograph in front of you. It’s about design – arranging all the elements of the scene in your viewfinder so they become something compelling to look at. Hold the viewers’ attention as their eyes travel around the frame. Check your corners! Move your eye around the frame in the viewfinder looking for anything that might distract attention away from your subject(s) – a stray branch, somebody’s toe, etc. Our eyes are naturally drawn to brighter, “hotter” elements. If those aren’t your subject(s), exclude them!

“ You take the picture, but you make the photograph.”

It’s about seeing the photograph in front of you.

It’s about design – arranging all the elements of the scene in your viewfinder so they become something compelling to look at.

Hold the viewers’ attention as their eyes travel around the frame.

Check your corners! Move your eye around the frame in the viewfinder looking for anything that might distract attention away from your subject(s) – a stray branch, somebody’s toe, etc.

Our eyes are naturally drawn to brighter, “hotter” elements. If those aren’t your subject(s), exclude them!

Composition Do in in the viewfinder, not in Photoshop! It’s always best to start with a good image. “ Photoshop doesn’t make a bad photograph good, it makes a bad photograph big.” You’re rendering a 3-D scene as a 2-D print. Frame it carefully! Try not to “bullseye” your subject in the frame. Dead center is deadly! Use the “Rule Of Thirds” – the oldest trick in the book for composing a visually balanced and pleasing image.

Do in in the viewfinder, not in Photoshop! It’s always best to start with a good image.

“ Photoshop doesn’t make a bad photograph good, it makes a bad photograph big.”

You’re rendering a 3-D scene as a 2-D print. Frame it carefully!

Try not to “bullseye” your subject in the frame. Dead center is deadly!

Use the “Rule Of Thirds” – the oldest trick in the book for composing a visually balanced and pleasing image.

Rule Of Thirds Divide your scene into an imaginary “tic-tac-toe” grid, then place your subject(s) near any of the four intersections

Divide your scene into an imaginary “tic-tac-toe” grid, then place your subject(s) near any of the four intersections

Use Those Lines! Diagonal lines are especially dynamic. Use them to lead the viewer to the subject, guide the viewer across the frame or create “vanishing points”.

Diagonal lines are especially dynamic. Use them to lead the viewer to the subject, guide the viewer across the frame or create “vanishing points”.

Find Grace The S-curve is a classic compositional device to create a sense of grace. Give moving subjects space to go. Don’t place them so they are about to run off the frame.

The S-curve is a classic compositional device to create a sense of grace.

Tips For Better Composition Try not to cut off any body parts. Don’t have trees or telephone poles growing out of your subjects’ heads.

Try not to cut off any body parts.

Don’t have trees or telephone poles growing out of your subjects’ heads.

Tips For Better Composition Tell a story with your photographs

Tell a story with your photographs

Learn, Practice, Then Forget Remember, these are just guidelines, not hard and fast rules. Don’t be afraid to experiment! Look for different viewpoints. Try tilting the camera. Try it blurry! You are only limited by your own creativity!

Remember, these are just guidelines, not hard and fast rules.

Now That You Have Your Pictures Time for the workflow Why do you need a workflow? Because your photos are trapped in your card and somebody has to liberate them Because it’s too expensive not to get them out and print/email/put-them-on-the-web yourself Because you want artistic control over how your photos are displayed

Time for the workflow

Why do you need a workflow?

Because your photos are trapped in your card and somebody has to liberate them

Because it’s too expensive not to get them out and print/email/put-them-on-the-web yourself

Because you want artistic control over how your photos are displayed

Now That You Have Your Pictures Typical Post-capture Workflow: Download And Store File naming Storage Metadata Edit Crop/Straighten Tone Contrast Color correction Sharpening Cataloging Output Printer Email Web Image source: Epson

Typical Post-capture Workflow:

Download And Store Downloading directly from the camera can be slow usually USB 1.1 – maximum transfer rate of 12Mbits/sec. Use a fast external card reader if possible USB 2.0 capable of up to 480Mbits/sec. Firewire (IEEE 1394) capable of up to 400Mbits/sec. Software available to download, rename, add metadata Downloader Pro (Breeze Systems) Photo Mechanic (Camera Bits) File naming is important. Use the same file naming scheme for your edits and originals. Metadata is essential. Help yourself find and figure out your photos later.

Downloading directly from the camera can be slow

usually USB 1.1 – maximum transfer rate of 12Mbits/sec.

Use a fast external card reader if possible

USB 2.0 capable of up to 480Mbits/sec.

Firewire (IEEE 1394) capable of up to 400Mbits/sec.

Software available to download, rename, add metadata

Downloader Pro (Breeze Systems)

Photo Mechanic (Camera Bits)

File naming is important.

Use the same file naming

scheme for your edits and originals.

Metadata is essential. Help

yourself find and figure out your photos later.

Backups! Backups! Backups! Copy your newly downloaded images first thing before you do anything else!

Copy your newly downloaded images first thing before you do anything else!

The Browser Allows you to look at all the photos on your computer Thumbnails and previews Sorting, ranking Batch renaming Manage metadata EXIF (Exchangeable Image File Format) IPTC (The International Press Telecommunications Council) Popular software packages have them built-in Adobe Photoshop Photo Mechanic iPhoto

Allows you to look at all the photos on your computer

Thumbnails and previews

Sorting, ranking

Batch renaming

Manage metadata

EXIF (Exchangeable Image File Format)

IPTC (The International Press Telecommunications Council)

Popular software packages have them built-in

Adobe Photoshop

Photo Mechanic

iPhoto

The Organizer Builds databases of information about your photos EXIF IPTC File names Folder names Allows searching of your photos regardless of where they are Popular software Adobe Photoshop Elements Extensis Portfolio iView MediaPro Canto Cumulus

Builds databases of information about your photos

EXIF

IPTC

File names

Folder names

Allows searching of your photos regardless of where they are

Popular software

Adobe Photoshop Elements

Extensis Portfolio

iView MediaPro

Canto Cumulus

Time To Edit Crop and straighten Tone and contrast Color correction Creative sharpening Many software packages available: Adobe Corel Apple Microsoft Extensis Ulead JASC Nova Free/share-ware Etc.

Crop and straighten

Tone and contrast

Color correction

Creative sharpening

Many software packages available:

Adobe

Corel

Apple

Microsoft

Extensis

Ulead

JASC

Nova

Free/share-ware

Etc.

Why Adobe Photoshop? Because it’s the best! Because the camera is good, but you might be able to do better in post Because your in-camera technique is good, but you might be able to do better in post Because you might have been forced to do something like underexpose on purpose, and only you know how to deal with that

Because it’s the best!

Because the camera is good, but you might be able to do better in post

Because your in-camera technique is good, but you might be able to do better in post

Because you might have been forced to do something like underexpose on purpose, and only you know how to deal with that

Why Adobe Photoshop? Because you may want to create a piece of art out of your photos…

Because you may want to create a piece of art out of your photos…

Adobe Photoshop Family Adobe Photoshop Album 2.0 – casual snapshooters Adobe Photoshop Album Starter Edition 3.0 Adobe Photoshop Elements 3.0 – photo enthusiasts and most amateur photographers (This is probably all you need!) Adobe Photoshop CS2 – professional gold standard

Adobe Photoshop Album 2.0 – casual snapshooters

Adobe Photoshop Album Starter Edition 3.0

Adobe Photoshop Elements 3.0 – photo enthusiasts and most amateur photographers (This is probably all you need!)

Adobe Photoshop CS2 – professional gold standard

Sharing Your Photos Print Desktop printers Commercial printing services Shutterfly, Ofoto, etc. Costco Web Online services Shutterfly, Ofoto, etc. Web pages (72 dpi) Email Good for small files only! (72 dpi)

Print

Desktop printers

Commercial printing services

Shutterfly, Ofoto, etc.

Costco

Web

Online services

Shutterfly, Ofoto, etc.

Web pages (72 dpi)

Email

Good for small files only! (72 dpi)

Printing Tips Set the print size Set the correct printer and paper (including size, orientation, fit on paper) Your software gives you options, then your printer gives you options – can be confusing Color management – either let your software manage the colors, or let the printer do it, but not both! Set the color profile of the paper you’re using Do a nozzle check beforehand. (Keep scrap plain paper around!) Clean the nozzles often. Use third-party inks and paper at your own peril!

Set the print size

Set the correct printer and paper (including size, orientation, fit on paper)

Your software gives you options, then your printer gives you options – can be confusing

Color management – either let your software manage the colors, or let the printer do it, but not both!

Set the color profile of the paper you’re using

Do a nozzle check beforehand. (Keep scrap plain paper around!)

Clean the nozzles often.

Use third-party inks and paper at your own peril!

Email Tips If you don’t have to, don’t! Don’t email big files! Anything ~1M or more is too big! Use software emailing features, or manually reduce the file size (72 dpi, 640 pixels is usually sufficient). Package up your images if you have many – zip, etc. Better yet – use the Web! Attach the images – avoid placing them in the body of your email (in-line).

If you don’t have to, don’t!

Don’t email big files! Anything ~1M or more is too big!

Use software emailing features, or manually reduce the file size (72 dpi, 640 pixels is usually sufficient).

Package up your images if you have many – zip, etc.

Better yet – use the Web!

Attach the images – avoid placing them in the body of your email (in-line).

Web Tips If you have already enhanced your photos, make sure your service (Shutterfly, Ofoto, etc.) doesn’t enhance them again! If you manage your own web pages, use small files (72 dpi) Software available to create galleries Adobe Photoshop CompuPic ThumbsPlus

If you have already enhanced your photos, make sure your service (Shutterfly, Ofoto, etc.) doesn’t enhance them again!

If you manage your own web pages, use small files (72 dpi)

Software available to create galleries

Adobe Photoshop

CompuPic

ThumbsPlus

Sharpening In digital terms, adding adjacent light and dark pixels to enhance contrast Amount – how much (gas pedal) Halo (Radius) – how many pixels affected Threshold – how many surrounding pixels considered “edge” Different needs Print: inkjet, laser, offset, etc. Web/email (screen) After resizing Schools of thought For output only Workflow (artistic) sharpening

In digital terms, adding adjacent light and dark pixels to enhance contrast

Amount – how much (gas pedal)

Halo (Radius) – how many pixels affected

Threshold – how many surrounding pixels considered “edge”

Different needs

Print: inkjet, laser, offset, etc.

Web/email (screen)

After resizing

Schools of thought

For output only

Workflow (artistic) sharpening

Live Editing Session…

Parting Thoughts “ Good art comes of good craftspersonship.”

“ Good art comes of good craftspersonship.”

If It Moves You, Shoot It! Often! Practice! Practice! Practice! Anything and everything!

Practice! Practice! Practice!

Recommended Reading Photography Blue Pixel Personal Photo Coach: Digital Photography Tips from the Trenches by David Schloss Perfect Exposure: Jim Zuckerman's Secrets to Great Photographs by Jim Zuckerman Designing a Photograph: Visual Techniques for Making Your Photographs Work by Bill Smith Examples: The Making of 40 Photographs by Ansel Adams Successful Underwater Photography by Brian Skerry, Howard Hall Adobe Photoshop Adobe Photoshop CS2 for Photographers by Martin Evening The Photoshop CS2 Book for Digital Photographers by Scott Kelby The Photoshop Elements 3 Book for Digital Photographers by Scott Kelby Photoshop Restoration & Retouching by Katrin Eismann Photoshop Masking & Compositing by Katrin Eismann The Photoshop Show Starring Russell Brown by Russell Brown Adobe Photoshop CS2 Classroom in a Book by Adobe Creative Team Adobe Photoshop Elements 3.0 Classroom in a Book by Adobe Creative Team Photoshop on the Web Adobe Photoshop ( http://www.adobe.com/products/ photoshop /overview.html ) National Association of Photoshop Professionals (NAPP) ( http://www. photoshopuser .com/ ) Photoshop News ( http:// photoshopnews .com/ ) Photoshop Café ( http://www. photoshopcafe .com/ ) Adobe Evangelists ( http://www. adobeevangelists .com/ )

Photography

Blue Pixel Personal Photo Coach: Digital Photography Tips from the Trenches by David Schloss

Perfect Exposure: Jim Zuckerman's Secrets to Great Photographs by Jim Zuckerman

Designing a Photograph: Visual Techniques for Making Your Photographs Work by Bill Smith

Examples: The Making of 40 Photographs by Ansel Adams

Successful Underwater Photography by Brian Skerry, Howard Hall

Adobe Photoshop

Adobe Photoshop CS2 for Photographers by Martin Evening

The Photoshop CS2 Book for Digital Photographers by Scott Kelby

The Photoshop Elements 3 Book for Digital Photographers by Scott Kelby

Photoshop Restoration & Retouching by Katrin Eismann

Photoshop Masking & Compositing by Katrin Eismann

The Photoshop Show Starring Russell Brown by Russell Brown

Adobe Photoshop CS2 Classroom in a Book by Adobe Creative Team

Adobe Photoshop Elements 3.0 Classroom in a Book by Adobe Creative Team

Photoshop on the Web

Adobe Photoshop ( http://www.adobe.com/products/ photoshop /overview.html )

National Association of Photoshop Professionals (NAPP) ( http://www. photoshopuser .com/ )

Photoshop News ( http:// photoshopnews .com/ )

Photoshop Café ( http://www. photoshopcafe .com/ )

Adobe Evangelists ( http://www. adobeevangelists .com/ )

Thank You For Coming! Now Go Take Pictures! Peter Liu Photography kaiscapes .com

Supplemental Slides Begin Here

Film Speed Trivia ASA – A merican S tandards A ssociation. Most common film speed rating in the U.S. until the conversion to ISO. Only the name has changed. ISO – I nternational S tandards O rganization. Most common film speed rating in the U.S. Doubling the value doubles the film speed. DIN – D eutsche I ndustrie N orm . Based on a logarithmic scale where each increase represents 1/3 stop. E.g. ISO 800/30 on a roll of ISO (ASA) 800 film indicates that the DIN rating is 30.

ASA – A merican S tandards A ssociation. Most common film speed rating in the U.S. until the conversion to ISO. Only the name has changed.

ISO – I nternational S tandards O rganization. Most common film speed rating in the U.S. Doubling the value doubles the film speed.

DIN – D eutsche I ndustrie N orm . Based on a logarithmic scale where each increase represents 1/3 stop. E.g. ISO 800/30 on a roll of ISO (ASA) 800 film indicates that the DIN rating is 30.