Digital Macro Studio lights Assignments: Studio Lights Color
Macro Digital Software Adobe Photoshop
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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.
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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/
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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.
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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.
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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.
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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.
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STUDIO SUBJECT MATTER Bring in your favorite objects. Toy Pets
Food Water Collections of objects Game Still life: ie.rocks
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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.
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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
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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.
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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.
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Camera RAW or JPEG formats RAW JPEG Additional Formats PDS PNG
EPS PDF TIFF PSD: A True Pixel Editing Program
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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PHOTOSHOP TOOLS
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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
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The difference between LEVELS & Curves
https://fstoppers.com/post-production/difference-between-curves-and-levels-2603
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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
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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.
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.
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 tools 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
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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.
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