This template can be used as a starter file for a photo album.
Photo Editing Part 2 and Cropping
Editing Photos for Publicationhttp://www.ted.com/talks/becci_manson_re_touching_lives_through_photos.htmlhttp://www.ted.com/talks/erik_johansson_impossible_photography.htmlhttp://www.ted.com/talks/taryn_simon_photographs_secret_sites.html
PhotoshopETHICS PROHIBIT US FROM USINGPHOTOSHOP IN MOST CASES
SLIPPERY SLOPENational Geographicmagazine once moved theGreat Pyramids for a cover.In this National Geographicmagazine cover story onEgypt by Gorden Gahen, theGreat Pyramid of Giza wasdigitally moved to fit themagazine’s vertical format.
SLIPPERY SLOPETimemagazinemanipulatedO.J. Simpson’spolicemugshot insuch a waythat it madehim lookdarker andmore sinister.
Let’s remember your job, as a PJ: 1. Document life, capture intimate, storytelling moments in a subject’s life.2. Your readers must believe that what they see is what actually happened. This is based on trust that you haven’t altered the image in any substantive way, shape or form. This gives you power to inform, persuade, and even change society3. You do not recreate situations, unless it’s for an environmental portrait or illustration. You do not direct, alter, or “touch” existing situations.
Before After Tone Saturation Color However, tone, saturation and selective color are tools you need to know how to use.
Before After Contrast Brightness Sharpness Corrections also allow you to change the contrast, brightness, and sharpness of your images.
Focus on the Star of Your PhotoBackground Removal allows you to quickly and easilyremove backgrounds to isolate items in your image.
Then, by layering multiple objects on a different background, you can create dynamic layouts
PhotojournalismPhotoshop offers convenience, speed and reliability to photos.But Photoshop can destroy the integrity or “believability” of aphoto.You should err on the side of conservatism.Don’t change the color of the sky or erase an unsightly beer can.Don’t remove an offensive sign or gesture.Once you start, it becomes easier to rationalize a change here,an addition or subtraction there.But once you’ve slipped into unethical territory, the trust isbroken and the photojournalism dies a little.That being said, Photoshop increases the quality ofreproduction and saves time.The only way to master Photoshop is to practice.
Photoshop 101First, crop the photo so you don’t waste time or effort correcting areasof the photo that you will crop out later - I use the rectangular marqueetool and hold down the space bar to fine-tune the crop.Next, go to Image then Adjustments and check the brightness and/orcontrast.Check the levels, curves and exposure, color balance. (There aredifferent schools of thought on which method is best. I like Curves andSelective Color. More on that in a second.)Check the histogram and info – make sure the white is white, black isblack, red is redCheck the Image size – must be 300 DPI in the resolution box in order toprint/72 for web - DPI = dots per inch
With Curves, you can use Curvesthe Black Eye Dropper toset the black point.You do this to make sureyou have the blackestblack you can get.This black will have nodetail, so don’t use itwhen you want a blackwith detail.When you click on theblack eye dropper, theframe around it turnsblack.Then, click on an area inthe photo. The area willchange to black..Do this for the whiteareas as well where youwant the whitest white.
Other tools: Lasso parts ofthe picture to select editFeatherDodge and burnRubber stamp
By including too much in the picture, you risk distracting the reader fromthe main subject.By framing too tightly, you could leave out important elements.That’s why you have zoom lenses.MORE ON CROPPING CUTTING THE FATAKA Crop the excess –There should be a reason for leaving in each area of the picture. No corner should remain “just because.” The rule is: Save the meat of the photo by cutting the fat. That being said, cropping can improve a picture by eliminating irritating details but mindless cropping can ruin the intent of the picture. - Sometimes a blank area in the picture balances the action area. Leaving a little room on the print in front of a runner helps create the illusion that the athlete is moving across the picture. - Some blank space in front of a profile portrait keeps the subject from looking as if he or she is peering off the edge of the print.
THE PRICE OF CROPPINGEnlarging only a very small portion of the original photo orblowing up a part of the final image MAGNIFIES any defect in theoriginal picture.Cropping, therefore, involves a tradeoff between poor quality butbetter composition. (Taking a one-inch square segment of an8”x10” photo and printing it on a half-page spread might producea perfectly composed picture that is too fuzzy for the viewer toappreciate.)Generally, a good photojournalist will opt for a dramatic image atthe expense of some sharpness and grain. It’s better to catch thereader’s attention with an exciting photo than to lose the readerwith a technically sharp but dull image.
SIZING UP FOR IMPACTCropping the human body- don’t drop off parts of the body but, if you must, the crop shouldnot fall on a joint like an elbow or knee.- If you crop off the head from the body, you should leave some of the neck and shoulder so the head will have a platform to sit on.- If you crop into the face of a person, don’t leave half an eye or just part of a mouth.
SIZING UP FOR IMPACTAs the size of the photo grows, so does the number of readersUnless the subject is sexy, then it doesn’t matter: think girls inbikinis. Picture size is not the only determinant for readerattention.When Size is Needed:- Drama – a one column headshot is so small that it communicates almost nothing vs. with a four column head shot, you can see the whiskers on a man’s face or the color in a woman’s eyes.- Detail – a long shot such as an aerial from a plan loses bits of detail if it’s compressed into one column. A large, oversized photo becomes fresh and exciting when magnified.
ACHIEVING CONTRAST WITH SIZEIn a layout, one photo usually dominates the spread.Dominance is achieved through size.The dominant picture seems large especially when it is playedalongside considerably smaller images.If dominant and subordinate images are too close in size, theycompete for the reader’s attention.Printing some pictures smalland the others big heightensthe contrast between them,adding to the interest of thepage.It’s similar to howjournalists decidewhat to put in the leadof a story.
PAIRING PICTURESSometimes one picture can summarize an event.Oftentimes, however, you need several photos. Pairing photoscauses readers to look at the photos separately and then mentallycombine them.Picture sequences are sometimes necessary to tell the wholestory – beginning, middle and end of a person running, trippingand falling.Packaging pictures – a story on commuting by train. Don’t just geta single picture of commuters. Package pictures of the conductorinspecting the train, of passengers partying or relaxing on thetrain while others run to catch the next one. Give a complexvignette of the commuters’ lifestyle.
Some photos, when played together, deliver a strong editorial messagebetter than either could alone.PICTURE PAIRS
Different words can have different meanings but, with pictures, differentpictures can carry similar messages. This allows the reader to see thecommon elements in the different images.Visual homonyms – some words like “to” “two” “too” sound the samebut carry comcpletely different meanings.Likewise, photos can look similar but carry dissimilar info: a photo of theEgyptian pyramids and a pile of oranges. Both are triangle shaped.Some pairs can be entertaining, but because the pictures share noeditorial relationship, the reader could be confused.So, be careful when pairing unrelated photos.UNRELATED PICTURE PAIRING