Photo

I (AR 1710) Edward Stapel Quick reference for setting up your digital camera This information can also be found in the Introduction and Chapter 1 of your book. Each camera type and model will have a slightly different Menu layout and possibly different names for the following terms. Please ask for assistance and/or consult your camera manual if you have trouble making the following settings. On Your Camera: 1. Camera Mode: Set your camera to Manual Mode: M 2. Focus: Set your camera to either Manual Focus MF or Autofocus AF. This is a personal choice, but most modern cameras are easier to use in AF mode. Reasons for using both MF and AF will be discussed. 3. ISO: Set your ISO to 200 or 400. This may be an option that you can set on your camera. If not, it can be set in the Shooting Menu. In the Shooting or Camera Menu: 1. Image Quality: You have a couple of choices here. If your camera is capable of capturing RAW files, set your camera to RAW + Jpeg L (Large). If your camera is not capable of capturing RAW files, set your camera to Jpeg L (Large). If you like, you can just use Jpegs for our initial assignments as RAW files are much larger (take up more memory) than Jpegs. 2. White Balance (WB): For now, set your WB to Auto. Our initial assignments will be processed as black-and-white images so we dont really need to worry about white balance for now. In the Set Up Menu: 1. Format Memory Card: It is important to perform this function with every new memory card. Please get in the habit of reformatting your cards after every download. However, make sure that your images are backed up BEFORE you reformat. Reformatting removes any artifacts that may be left on your card from previous usage. 2. Clean Image Sensor: Its a good idea to do this regularly like every time your reformat a memory card. In the Custom Settings Menu: 1. File Number Sequence: Set this to Continuous. This allows the file numbers for the images that you create to continue sequentially and will prevent confusion with file number duplication.

 In the Camera or Playback or Review Menu: 1. Turn Review or Auto Review off. This will prevent your camera from automatically displaying each shot in the LCD preview screen. This also conserves battery power and saves time when shooting (especially if you are photographing via the LCD with point and shoot cameras). You can always press the Play button to review your images. While these are the most important things to set, its a good idea to familiarize yourself with all of your cameras menus and functions. Photo I (AR 1710) Edward Stapel Common File Formats Jpegs - .jpg Can be read by any computer. Compresses your files to make them more mobile. Repeatedly opening and saving of jpeg files in Photoshop results in compression with each save, which will eventually result in compromised image quality. RAW files Nikon .nef, Canon .cr2, Olympus .orf Can only be read by Photoshop, Lightroom, or other Raw reading software. Does not compress files. Give you the best file controls. Photoshop files - .psd Can only be read by Photoshop. Does not compress your file. Keeps all of your layer info. Digital Negative files - .dng - Universal digital negative file created by Photoshop, typically used in postproduction. Functions like a RAW file. Does not compress files. Give you the best file controls. TIFF - .tif Can be read by any computer. Does not compress your files. Great for printing.

Photo I (AR 1710) Edward Stapel DIGITAL IMAGING WORKFLOW AND FILE MANAGEMENT Working digitally allows you to generate a large number of files. How you organize and store your files is important. Below is a list of steps to help you better organize your digital world. You will notice that these steps are often redundant in order to best protect your images from accidental and/or catastrophic loss. 1. Image Capture Typically with a camera or scanner. 2. Downloading or Importing. -- Download or Import your digital photographs from your cameras memory card to your folder on your computer. Using a card reader sometimes speeds up this process and doesnt use your cameras battery power to transfer files (instead of capture images). Backup your images on something reliable your flash drive, your external hard drive, a CD, or a DVD. Dont leave things on the schools computers. Backup your images BEFORE you reformat your memory card. -- Import your scanned images (from negatives, slides, photographs, or other flat artwork). Scanning is a more deliberate process than downloading digital camera captures and it can be a time-consuming process. Save each import, or raw scan, as you go. Backup your initial raw scans. 3. Organize your images. Use Bridge to organize your digital photographs. Take the time to organize your shots it will help you in the long run. 4. Image Editing. This step includes all of the Camera Raw and Photoshop work that you do to your image(s) whether it be a simple crop or elaborate image combinations (image editing has its own workflow see Image Editing Workflow). 5. Output. Generally speaking, this refers to printing. You will be printing your finished work at a determined image size and resolution on nice quality paper with Epson pigment based inks in our Epson printers. Output may also refer to a variety of web- based or digital presentation applications such as: flickr, facebook, tumblr, Powerpoint, or Quicktime movies. Essentially, output is a catchall term for what you do with your finished images. 6. Archiving. This term refers to how you store your finished work. Prints should be stored in an archival environment such as print sleeves, mats, and/or print storage boxes. Your digital files should be stored on CDs, DVDs, flash drives, and/or external hard drives. Protect these disks and drives. Dont store your images in only one place (like your computers hard drive). As Im sure you are aware, computers and promiscuous flash drives are susceptible to a variety of nasty things that can erase your images.

Photo I (AR 1710) Edward Stapel IMAGE EDITING WORKFLOW IMPORT YOUR PHOTOS 1. Connect your camera or card reader with memory card to your computer. 2. Open Bridge, go to File Get Photos from Camera. Make sure your camera or memory card is selected in the Source menu. 3. Confirm or Select the following options (See Illustration): a. Location: select Choose. Navigate to the Temporary Storage drive Our class New Folder type Your Name and click Choose. b. Custom Subfolder(s): Custom Name Type in desired name (ex: Assignment c. Rename Files: Do Not Rename Files d. Check Preserve Current Filename in XMP e. Make sure to Check Open in Adobe Bridge f. Do not check Convert to DNG or Delete Original Files g. Optional, but excellent idea (back up your files to another drive while you import!): check Save Copies To: click Choose locate your drive and click Choose 4. Click Get Media or Get Photos OPEN IN CAMERA RAW (*and convert to black and white*) 1. In Bridge, review and rate (with Stars) your images. Select the images you wish to work on. Open them in Camera Raw (File Open in Camera Raw) 2. *Black and White conversion: Click Select All in the upper left. On the lower right window, slide Desaturate all the way to the left. (See Illustration)* 3. **Click on the highlighted text in the center bottom of the Camera Raw window. Confirm and/or set the following Workflow Options (See Illustration):** a. Space: Adobe RGB (1998) b. Depth: 16 Bits/Channel c. Size: (leave as is) d. Resolution: 240 pixels/inch e. Sharpen For: None f. Check Open in Photoshop as Smart Objects g. Click OK 4. ***Perform all desired edits to images in Camera Raw including: cropping, white balance, exposure adjustments, input sharpening, etc.*** 5. Click Open Object to open your images in Photoshop (and skip to Step 3 below)

WORKING ON SELECTED IMAGES (that have already been imported to your computer) 1. Open Bridge. If your images are on an external device you should transfer them to the appropriate folder on your computer before opening your computer will be happier if you do. 2. In Bridge, review and rate (with Stars) your images. Select the images you wish to work on. Open them in Camera Raw (File Open in Camera Raw) 3. ***Perform all desired edits to images in Camera Raw including: cropping, white balance, exposure adjustments, input sharpening, etc.*** 4. Click Open Object to open your images in Photoshop 5. ***Adjust and assemble your image(s). This step includes any and all Photoshop manipulations: retouching, further cropping, adjustment layers, addition of text, collage, paths, masks, etc. *** 6. Sharpening for output (as Smart Objects). Your images should have opened as Smart Objects, but if not, convert background to a Smart Object. Sharpen your image using Unsharp Mask Filter (under Filter Sharpen). Be subtle here: 40-80%, Radius 1, Threshold 0 is a good starting point for most photographic imagery. Rename the filter with the amount of sharpening used. If you are combining more than one image you may want to apply sharpening to each image, or element within an image. 7. Image Size. Set your Image Size and Resolution to your desired output size (ideal output resolution for most printing needs is 240-360 dpi and for most web-based needs is 72-150 ppi). To check the MAXIMUM Document Size at which you can print your image and avoid upsampling go to the Image Size dialog box, uncheck Resample Image, enter the desired Resolution, and the largest Document Size possible will appear. Reducing that size will not hurt image quality increasing it will (or might). 8. SAVE YOUR WORK!!!! Do this often as you go along! 9. Output your images as prints and/or on the web. * We will start the semester working in black and white. If you are working in color you may skip this step. ** Typically, you should only have to set this once. However, since we share these computers, please get into the habit of checking these settings regularly. *** These steps involve the bulk of the image editing techniques covered in this course. This Workflow is meant to function as a guideline we will spend considerable time going over these steps.

Photo I (AR 1710) Edward Stapel WORKING ON YOUR IMAGES (IMAGE EDITING) Typically, you will open your images in Camera Raw prior to opening them in Photoshop. Some of your image editing will be done in Camera Raw and some in Photoshop. Many of the steps can be done in either place. CAMERA RAW WORKFLOW 1. From Bridge, open your image(s) in Camera Raw 2. Crop and make adjustments using the tools across the top of the window. (Many of these can be done in Photoshop as well) 3. Basic Tab: Set White Balance and make adjustments to Exposure 4. Contrast Curve adjustment, Input Sharpening, Color adjustments, Split toning some of these can also be done in Photoshop, according to your specific needs or preferences. 5. Lens Corrections allows for minor correction of distortion and color fringing in your images. 6. Save Image and/or Open Object in Photoshop. Continue editing according to instructions below. PHOTOSHOP WORKFLOW 1. Open your image(s) in Photoshop 2. Rotate and Crop your image as needed. 3. Adjustment Layers. These layers affect all layers that appear below them on the layers palette or they can be clipped to specific layers. They allow you to go back and alter the effects they create. Make an Adjustment Layer for each of the following: a. Adjust overall image brightness and contrast using Levels or Curves b. Adjust the overall color balance of your image using Levels or Curves 4. Retouch your image as needed using the appropriate tool on the appropriate layer (clone stamp, healing brush, etc.)

5. Fine-tune local areas: adjust local areas to improve brightness, contrast, color, of other effects. 6. Apply filters if necessary or desired. 7. SAVE YOUR IMAGE. This is your master Photoshop file. Future alterations will be made from this version. 8. Sharpening for output (as Smart Objects). Your images should have opened as Smart Objects, but if not, convert background to a Smart Object. Sharpen your image using Unsharp Mask Filter (under Filter Sharpen). Be subtle here: 40- 80%, Radius 1, Threshold 0 is a good starting point for most photographic imagery. Rename the filter with the amount of sharpening used. If you are combining more than one image you may want to apply sharpening to each image, or element within an image. 9. Resize your image for specific use. Set your Image Size and Resolution to your desired output size (ideal output resolution for most printing needs is 240-360 dpi and for most web-based needs is 72-150 ppi). To check the MAXIMUM Document Size at which you can print your image and avoid upsampling go to the Image Size dialog box, uncheck Resample Image, enter the desired Resolution, and the largest Document Size possible will appear. Reducing that size will not hurt image quality increasing it will (or might). 10. SAVE this version of your images as well. Remember: Save early, save often.p

Photo I (AR 1710) Edward Stapel How to check for largest file size and optimum resolution for digital images If your knowledge about the Image Size dialog box in Photoshop is a little hazy, here are some tips for checking your resolution at your desired image size. 1. Open the Image Size dialog box. 2. Look at your file size, or Pixel Dimension (M for megabytes), Document Size (inches), and Resolution (Pixels/Inch). 3. To see how large you can make your image size at your desired output resolution (usually 72-150 ppi for web usage and 240-360 ppi for printing) UNCHECK (turn off) Resample Image and type in your desired output resolution. Your Document Size will change, your File Size will not. This Document Size is the largest that you can print without suffering from resolution and/or pixelation issues. 4. Remember: for most print applications, there is virtually no difference in print quality between 240dpi and 360dpi. So, in step 3, if 360ppi isnt giving you the image size you want, try 300ppi, or 240ppi. There is no getting around low resolution; it is something that has to be addressed when you initially create your image (in camera, via scanner, etc.). This is the reason why images downloaded from websites are typically not suitable for printing the majority of them are at 72ppi, regardless of image size, in order to keep the file size small enough to move them around the web. Remember: GARBAGE IN, GARBAGE OUT

Photo I (AR1710) Edward Stapel A stop is a stop is a stop. . . (see p. 98) Standard f/stops: 1.4 2 2.8 4 5.6 8 11 16 22 32 (see p. 56) Going from one aperture to the next biggest (smaller number) lets in twice as much light (ie: 5.6 to 4). Going from one aperture to the next smallest (bigger number) lets in half as much light. (ie: 8 to 11) Shutter Speeds: 2 4 8 15 30 60 125 250 500 1000 (see p. 84) Going from one speed to the next lowest lets in twice as much light (ie: 60 to 30). Going from one speed to the next highest lets in half as much light (ie: 60 to 125). ISO : 100 200 400 800 1600 3200 6400 12800 (see p. 101) Smaller number = less light-sensitive = slower (also less noise) Bigger number = more light-sensitive = faster film (also more noise) Going from one speed to the next highest speed gives you an ISO that is twice as fast and twice as light-sensitive (ie: 200 to 400). Going from one speed to the next lowest speed gives you a film that is half as fast and half as light-sensitive (ie: 800 to 400). The term stop is equivalent for each of the above settings. Changing ISO from 200 to 400 is equivalent to changing the shutter speed to one stop faster or closing the aperture one stop. For Example: ISO 200 shot at 1/60 @ f/4 is equal to ISO 400 shot at 1/125 @f/4 is equal to ISO 400 shot at 1/60 @ f/5.6

Photo I (AR 1710) Edward Stapel Basic guidelines for basic settings. . . Landscapes: Usually a large depth of field is desired for landscape photographs requiring the need for small apertures --- f/11, f/16, f/22 Portraits: Usually a smaller depth of field is desired in order to isolate the subject from the background --- f/2, f/2.8, f.4 Freezing motion: Requires the use of fast shutter speeds --- 1/250, 1/500, 1/1000, or higher Blurring motion: Requires the use of slower shutter speeds --- 1/15, 1/8, 1/4, or slower, including the Bulb (B) setting Bright sunny scenes: Requires both fast shutter speeds and small apertures (big f/ numbers Low light or indoor scenes: Requires both slow shutter speeds and big apertures (little f/ numbers) Basic compositional elements. . . Rule of thirds: Place subject off-center in frame, either left or right or top or bottom Horizon line: Avoid putting horizon line in the center of the frame, try above center to bring more emphasis to foreground or below center to bring emphasis to sky Perspective or Point of View: Try shooting your subject from above or below as opposed to eye level Background: Be aware of elements in the background of your images that may distract the viewer from your subject Framing: Bring attention to your subject by framing it with other elements Line: The eye will follow the lines of elements within your image, use this to bring attention to your subject Shape and Pattern: Repeated shapes and patterns can create interesting graphic elements in your images Light and Dark: Use contrasting areas of light and dark and/or raking light to emphasize specific subjects