1. Digital Macro Studio lights Assignments: Studio Lights Color Macro Digital Software Adobe Photoshop

2. Lights: three key ideas Direction of the light Quality controls the softness or hardness of the light. Quantity controls the brightness or dimness of the light.

3. Three Point Studio Lighting Main light Fill light Back light Assignment: 1. Bring in objects to set up in the lighting studio. 2. Photograph your objects with a digital camera. 3. Correct your images in Photoshop. http://www.mediacollege.com/lighting/three-point/

4. MAIN LIGHT Main light is the strongest light. It has the most influence on the look of the scene. It is placed at a 45 degree angle to the subject, so that the subject is well lite and some shadows appear on the opposite side.

5. FILL LIGHT Fill light is the secondary light and is placed on the opposite side of the main light. It is used to fill in the shadows created by the main. The fill light is usually a softer quality. The quantity is less bright than the main. Fill light can be used as a flood light, filling the area with a softer light.

6. BACK LIGHT The back light is placed behind the subject and lights it from the rear. Rather than providing direct lighting, its purpose is to provide definition and subtle highlights around the subjects outlines. It helps separate the subject from the background and provide a 3-D look.

7. LIGHTING TIPS Use a white background as a starting point for color correction. Also a 18% grey card will work as well. Start with one light and build the quantity. Measure the strength of the light. The ratio of light affects your shadows. A single light will give you a high ratio. Hot lights (blue cans) have less control Orange cans have a color correction added. Some lights have shutters to direct light. Bounced light reflects off of a light surface and back onto the subject.

8. STUDIO SUBJECT MATTER Bring in your favorite objects. – Toy – Pets – Food – Water – Collections of objects – Game – Still life: ie.rocks

16. Studio Light Assignment Using the digital camera in our studio. Set up lights and arrange a strong composition of your subject/objects. YOU CONTROL EVERYTHING! Capture an image that looks like a magazine advertisement. Take 10 pictures of the same object, adjusting the light as you go. Download your images in the computer lab. Import your images into Adobe Photoshop. Use these images in the digital exercises we will complete in class. Use your new skills to fine tune your best studio image in Photoshop. Print your image on photo paper.

17. ADOBE PHOTOSHOP File types: RAW (.NEF-Nikon), Jpeg (.JPG) Saving an image: SAVE AS: Tools – Layers – Levels – Threshold* – Adjustments> size – Adjustments>color balance – Adjustments> hue & saturation (name & how much color) – Histograms – History – Selections* – Clone & Healing Brush – Color Additive/Subtractive – Filters * Not addressed in Basic Photo

18. CONTRAST Convert a color image into a black and white image to show color contrast. Green for example has much more yellow in it. Use the sliders for color balance.

19. Camera RAW or Photoshop formats File format types: RAW, Jpeg, Tiff When editing a digital photograph, use the RAW file format. Jpegs will compress the file data. Other formats are for digital illustrations.

20. Camera RAW or JPEG formats RAW JPEG Additional Formats PDS PNG EPS PDF TIFF PSD: A True Pixel Editing Program

21. Other software Photoshop CS6 extended or CC (Creative Cloud) Lightbox does not edit an image. It draws on top of it. This software is used mainly to organize photographs. Photoshop Elements is a less expensive version of PSD without all the bells & whistles.

22. Choosing a file format in PSD (informational) Graphics file formats differ in the way they represent image data (as pixels or vectors), and support different compression techniques and Photoshop features. To preserve all Photoshop features (layers, effects, masks, and so on), save a copy of your image in Photoshop format (PSD). Like most file formats, PSD supports files up to 2 GB in size. For files larger than 2 GB, save in Large Document Format (PSB), Photoshop Raw (flattened image only), TIFF (up to 4 GB), or DICOM format. The standard bit depth for images is 8 bits per channel. To achieve greater dynamic range with 16- or 32-bit images, use the following formats: Formats for 16-bit images (require Save As command) Photoshop, Large Document Format (PSB), Cineon, DICOM, IFF, JPEG, JPEG 2000, Photoshop PDF, Photoshop Raw, PNG, Portable Bit Map, and TIFF. Note: The Save For Web & Devices command automatically converts 16-bit images to 8-bit. Formats for 32-bit images (require Save As command) Photoshop, Large Document Format (PSB), Open EXR, Portable Bitmap, Radiance, and TIFF.

23. JPEG (Joint Photographic Experts Group) Joint Photographic Experts Group (JPEG) format is commonly used to display photographs and other continuous-tone images. JPEG uses lossy compression. JPEG format supports CMYK, RGB, and Grayscale color modes, and does not support transparency. Unlike GIF format, JPEG retains all color information in an RGB image but compresses file size by selectively discarding data. A JPEG image is automatically decompressed when opened. A higher level of compression results in lower image quality, and a lower level of compression results in better image quality. In most cases, the Maximum quality option produces a result indistinguishable from the original. To specify image quality, choose an option from the Quality menu, enter a value of 12.

24. Photoshop Raw format The Photoshop Raw format is a flexible file format for transferring images between applications and computer platforms. This format supports CMYK, RGB, and grayscale images with alpha channels, and multichannel and Lab images without alpha channels. Documents saved in the Photoshop Raw format can be of any pixel or file size, but they cannot contain layers. The Photoshop Raw format consists of a stream of bytes describing the color information in the image. You can save the image in an interleaved or non-interleaved format. If you choose interleaved, the color values (red, green, and blue, for example) are stored sequentially. Your choice depends on requirements of the application that will open the file. Note: A Photoshop Raw image is not in the same file format as a camera raw image file from a digital camera. A camera raw image file is in a camera-specific proprietary format that is essentially a “digital negative,” with no filtering, white balance adjustments, or other in- camera processing.

25. Informational use only Digital Negative format (DNG) Digital Negative (DNG) is a file format that contains the raw image data from a digital camera and metadata that defines what the data means. DNG is designed to provide compatibility. The Camera Raw plug ‑ in can save camera raw image data in the DNG format. For more information about the Digital Negative (DNG) file format, visit www.adobe.com and search on the term “Digital Negative.”

26. Informational use only PDF Portable Document Format Portable Document Format (PDF) is a flexible, cross-platform, cross-application file format. Based on the PostScript imaging model, PDF files accurately display and preserve fonts, page layouts, and both vector and bitmap graphics. In addition, PDF files can contain electronic document search and navigation features such as electronic links. PDF supports 16 ‑ bits-per-channel images. Adobe Acrobat also has a Touch Up Object tool for minor editing of images in a PDF. For more information about working with images in PDFs, see Acrobat Help.

27. Informational use only TIFF Tagged-Image File Format Tagged-Image File Format (TIFF, TIF) is used to exchange files between applications and computer platforms. TIFF is a flexible bitmap image format supported by virtually all paint, image-editing, and page-layout applications. Also, virtually all desktop scanners can produce TIFF images. TIFF documents have a maximum file size of 4 GB. Photoshop CS and later supports large documents saved in TIFF format. However, most other applications and older versions of Photoshop do not support documents with file sizes greater than 2 GB. TIFF format supports CMYK, RGB, Lab, Indexed Color, and Grayscale images with alpha channels and Bitmap mode images without alpha channels. Photoshop can save layers in a TIFF file; however, if you open the file in another application, only the flattened image is visible. Photoshop can also save notes, transparency, and multiresolution pyramid data in TIFF format. In Photoshop, TIFF image files have a bit depth of 8, 16, or 32 bits per channel. You can save high dynamic range images as 32 ‑ bits-per-channel TIFF files.

28. EPS Encapsulated PostScript Informational use only Encapsulated PostScript (EPS) language file format can contain both vector and bitmap graphics and is supported by virtually all graphics, illustration, and page-layout programs. EPS format is used to transfer PostScript artwork between applications. When you open an EPS file containing vector graphics, Photoshop rasterizes the image, converting the vector graphics to pixels. EPS format supports Lab, CMYK, RGB, Indexed Color, Duotone, Grayscale, and Bitmap color modes, and does not support alpha channels. EPS does support clipping paths. Desktop Color Separations (DCS) format, a version of the standard EPS format, lets you save color separations of CMYK images. You use DCS 2.0 format to export images containing spot channels. To print EPS files, you must use a PostScript printer. Photoshop uses the EPS TIFF and EPS PICT formats to let you open images saved in file formats that create previews but are not supported by Photoshop (such as QuarkXPress®). You can edit and use an opened preview image just as any other low-resolution file. An EPS PICT preview is available only in Mac OS. Note: EPS TIFF format and EPS PICT format are more relevant to earlier versions of Photoshop. The current version of Photoshop includes rasterization features for opening files that include vector data.

29. Saving an Image in PHOTOSHOP FILE>Save as: allows you to name the project, choose the format, and where you are storing the document. Label the files with new names to keep all versions and the original file. File>Save: will replace the file that has already been saved to the previously designated folder. File>Save for Web: Allows you to choose the color tables and formats for web use.

30. PHOTOSHOP TOOLS

31. PHOTOSHOP LAYERS Advanced students http://digital-photography-school.com/understanding-layers-in-photoshop/  They do not destroy your original photo  You are working on top of or on copies of that photo  You have more control  You can use blending modes to change the way layers interact  You can change the opacity of any effect  You will have or can add layer masks so that you can work selectively on your photo with any adjustment you make TYPES OF LAYERS New layer: SHIFT, Control, (or Command) and N New Adjustment layer: ying/yang circle under LAYERS Text layer: letter T Duplicate layer: Control (or Command) and J or under LAYER

32. The difference between LEVELS & Curves https://fstoppers.com/post-production/difference-between-curves-and-levels-2603

33. Adobe Photoshop Exercises https://fstoppers.com/post-production/difference-between-curves-and-levels-2603 1. Use Adobe Photoshop to adjust your best image. 2. Use the tools and adjustments we practiced in class. 3. Review and reflection. 4. Print

34. PHOTOSHOP ADJUSTMENTS Adjustment Layers give you flexibility to back into the image and change your adjustments. You can also make adjustment right to the layer when it is visible and selected.

35. http://blog.epicedits.com/2010/01/13/how-to-read-image-histograms/

36. PHOTOSHOP HISTORY WINDOW>History, allows you to step backward (limited) more than one time. It will also revert to the original opened file only before you close that file.

37. PHOTOSHOP SELECTIONS – Selections: RETANGLE, ELIPTICAL, ROWS, LASSO, POLYGONAL, MAGNETIC, QUICK SELECT, MAGIC WAND.

38. PHOTOSHOP CLONING – The clone tool paints with a sampled pixels of an image. – Open an image. – Toolbox: choose Clone Stamp tool – In the options bar, set the tool’s brush size, softness or hardness of the brush. – Point the curser at the image area you want to paint with, hold down {ALT} Option key then selected the source point for cloning. – Paint with the copied pixels. – Aligned forces the source point to follow you mouse. – Deselecting Aligned option starts the sample point back to its original location. http://simplephotoshop.com/photoshop_tools/clone_stampf.htm

39. ADDITIVE VS SUBTRACTIVE COLOR Additive color uses the primary colors found in light (red, green and blue) and COMBINES them together to create all other colors. White results from combining red, green and blue light in equal intensities. The secondary colors of additive color are magenta, yellow and cyan. Monitors are additive color. Subtractive color is the basis for creating colors when mixing paint, dye or ink. The primary ink colors used in printing are cyan, magenta and yellow. Color is created when some wave lengths of light are subtracted (i.e., absorbed) while others are reflected. Cyan(blueish) is the complement of red, which means it absorbs (subtracts) red. Magenta(pinkish) is the complement of green; yellow is the complement of blue. Prints are subtracted color.

40. PHOTOSHOP FILTERS: note paper

41. PHOTOSHOP THRESHOLD* Advanced Students* http://layersmagazine.com/photoshop-layered-threshold.html

42. MACRO COLOR Assignment Use your digital camera to take a series of four photographs up close. Macro settings allow the photographer to get within inches of their subject matter. Test your limits with your camera. Go outside to do this. Your depth of field will be shallow, check for focus on the emphasized subject. Color schemas are very important. Look for subjects with different schema combinations: primary, secondary, complementary, analogous…