Tuesday, May 3, 2011

Term 2 - WEEK ONE

What makes an image of suitably high quality?

*Image quality
*Resolution (DPI, PPI)
*ISO (Noise)
*Correct exposure
*Colour balance.
*Aesthetically pleasing composition
*Subject matter
*Lighting techniques
*Full dynamic range/Tonal range (Detail in shadow and highlights)
*File format - (Suitable for a variety of print sizes)
*Thinking in terms of the customers needs
*Depth of field
*No Chromatic abberations
*No lens distortions

Wednesday, April 6, 2011

Photoshop Tutorial Faking a Holga/Lomo effect

Seeing as there's loads of phone app's at the moment designed as presets to make your photo look like it was taken with a vintage plastic camera such as a lomo or holga, I decided to see if I could recreate this look using photoshop complete with hue/saturation, light leaks and vignetting.

The tutorial I used is taken from http://tutorialblog.org/photoshop-tutorial-getting-that-great-x-pro-lomo-look/

Step One: Open the image, if you've previously worked on the picture make sure all the layers are flattened before continuing.

Step Two: The first thing we’re going to do is widen up the lens angle a little bit. Go to Filter > Distort >Lens Correction and drag the top slider (Remove Distortion) a tiny bit to the left. Don’t overdo it, but make it look like the lens warps out a little

Step Three: . Next, copy the image layer and hit Q to enter quickmask mode. Press D to make sure you’re painting in black, and B to select the brush tool. Select a nice, big, fuzzy brush, at full opacity and a low flow, paint in most of the image. Stay away from the corners.

Step Four: When you have kind of a big, red, fuzzy circle, press Q again to exit quickmask mode. Go to Select > Modify > Feather and enter 10 to 20 into the box. Press OK.

Step Five: . Use Filter > Blur > Lens Blur to give it just a little bit of low-quality blur. I used a triangle shape with Radius: 8, Blade Curvature: 67, and everything else at 0. Press OK.

Step Six: Press Q again, B for your big, fuzzy, low-flow brush, and paint in almost all the image again, staying away from the corners like before. Then press Q again and use Select > Modify > Feather at the same number as before. Create a Curves Adjustment Layer and drag that line down in a couple places to make the very corners of the image really

Step Seven: Create another Curves Adjustment Layer. Give your image a tiny little “S curve” to start out with, then go to the Red Channel. Drag the top right point over to the left a little less than one quarter of the way. Then move the bottom left point over to the right a little more than a quarter of the way.

Step Eight: Open the Green Channel. Create a dot around the top right quarter of the line and drag it up and to the left just a little bit. Go to the Blue Channel and make a dot in the same place, but drag this one down and to the right a little bit. (see screenshot).

Step Nine: . Press Q again, B for your big, soft, fuzzy, low flow brush, and this time just draw a big circle almost the whole height of your image, not quite centered, not quite perfect, in fact the less perfect the better it will look.

Step Ten: When you’re done, press Q to exit quickmask, Select > Modify >Feather again for a little more than your last number, and then create a Curves Adjustment Layer. Make a dot in the middle of the line and drag it down about 1/4 the way toward the bottom right of the square.

Tuesday, March 8, 2011

Calibration 1

Calibration one was done on a monitor in the computer lab of F-16. I used a Eye One Pro calibration device with Match 3 software.
Here are my before and after images

Calibration On

Calibration Off

Tuesday, March 1, 2011

Week 3 - Lightroom + Stitching images


key functions: Workflow, cataloguing & minor editing.

Catalogues are different to browsers as they utilise a database.

Non-destructive editing using live rendering. All changes made are just stored instructions in the metadata which are then displayed on the screen. Image + Instructions = display.


Issues when capturing;

*Movement in the image (clouds, waves, cars, people)
*Focus point + DOF.
*Exposure/Tonal variation
*Parallax error
*Lens distortion

Tuesday, February 22, 2011

Week 2 - Colour Management Revision.

1. What is the purpose of colour management?

To ensure consistant colour representation across various devices AKA: Scanners, cameras, monitors, printers, tv screens ETC.

2. What problem makes colour management necessary?

Inconsistancy in colour between devices, aka when the original image, scanner, monitor and printer don't match and you print out something different to what you see on screen.

3. Components of a device profile.

- Colour gamut (Range)
- White point (To do with luminance)
- Luminance (Brightness values)
- Colour temperature
- Conversion instructions

4. The difference between a device profile and a working space.

WORKING PROFILE - No reference to any particular piece of equipment
DEVICE PROFILE - Relates to a specific device

5. Reference colour space and how it is used.

Some examples of reference colour spaces are CIE, LAB, XYZ. They are used when using converting software to convert colours from one device to another.

6. Difference between calibrating and profiling.

CALIBRATE: Use physical devices to make the devices physically optimum - physically changing things such as brightness and contrast

PROFILE - Measures device colour gamut and creates a profile.

7. What is a rendering intent?

A rendering intent is a set of instructions or a methodology when converting between colour spaces.

8. Rendering intents that are most useful to photographers.

-Absolute colourmetric: To do with proofing purposes
- RELATIVE COLOURMETRIC: Brings out of gamut colours onto the boundary and doesn't move in rage colours
- PERCEPTUAL COLOURMETRIC: Brings out of gamut colours in and keeps the relationship with other colours, therefore moves them too so the tonal range stays the same.