Monday, September 21, 2009
DUE DATES!!!
The new due date for the assignment is Wednesday, 9/30 at the beginning of class. Two prints and six files are due. We'll discuss where to turn in your digital files in class on 9/23/09.
Monday, September 14, 2009
Sunday, September 13, 2009
Assignment Requirements!
Responsive, Contemplative, Directorial
The assignment description can be found here. The file requirements and due dates are below.
1. The resolution (pixel dimension) of your images should not be adjusted. You will be turning full-resolution images.
2. The images should not be flattened.
3. All images should be .psd files, RGB, 8-bit.
4. The file names of your images should contain it's mode (directorial, etc.), your name, and a number.
4. Your six images are due on 9/23/2009 at the beginning of class. Details on printing will be discussed in class on 9/16/2009.
The assignment description can be found here. The file requirements and due dates are below.
1. The resolution (pixel dimension) of your images should not be adjusted. You will be turning full-resolution images.
2. The images should not be flattened.
3. All images should be .psd files, RGB, 8-bit.
4. The file names of your images should contain it's mode (directorial, etc.), your name, and a number.
4. Your six images are due on 9/23/2009 at the beginning of class. Details on printing will be discussed in class on 9/16/2009.
Image Adjustments
Photoshop edits files in the following two ways. They are...
Destructive edits - changes modifying content in a way that it cannot be changed back to its original state. An example of a destructive edit would be to make a levels adjustment to an image by modifying a layer directly, thus altering it's content permanently.
Non-destructive edits - changes modifying content that modifies the edits rather than the original content. An example of a non-destructive edit would be to make an adjustment layer. Changes can be made to that edit, or adjustment layer without altering other layers or original content. A real world analogy would be walking outside and putting on sunglasses. In doing so you make the world appear darker without actually making it darker. Once you remove your sunglasses, everything is the same as when you put them on.
Destructive edits are BAD! They destroy data, which is information, which is ultimately resolution. Use non-destructive editing techniques whenever possible.
Here's a few types of Adjustment Layers you can add to your image using Photoshop. Please note, these are not all of them, we'll get to the rest later! If you only use adjustments layers to edit your images, you will be making non-destructive edits!
Levels - Adjusts the brightness and contrast using a histogram that represents the tonal values in an image.
Color Balance - Adjusts shifts of color in an image. If an image appears too blue you can make it warmer or more yellow using this tool.
Hue Saturation - Hue is the name of a color, saturation is a color's intensity. An image with no saturation contains no color information, only information on the brightness or darkness of each pixel. This tool adjusts the saturation of any particular hue in an image, or the overall saturation of all the hues.
How to make a New Adjustment Layer in Photoshop CS4?
Chose Layer -> New Adjustment Layer -> Levels (or any other desired type of adjustment from the list)
In the post below you can review the information covered in the demo given in class on 9/14/2009. Remember these videos are a supplement to the material covered in lecture andare NOT a substitute!
Destructive edits - changes modifying content in a way that it cannot be changed back to its original state. An example of a destructive edit would be to make a levels adjustment to an image by modifying a layer directly, thus altering it's content permanently.
Non-destructive edits - changes modifying content that modifies the edits rather than the original content. An example of a non-destructive edit would be to make an adjustment layer. Changes can be made to that edit, or adjustment layer without altering other layers or original content. A real world analogy would be walking outside and putting on sunglasses. In doing so you make the world appear darker without actually making it darker. Once you remove your sunglasses, everything is the same as when you put them on.
Destructive edits are BAD! They destroy data, which is information, which is ultimately resolution. Use non-destructive editing techniques whenever possible.
Here's a few types of Adjustment Layers you can add to your image using Photoshop. Please note, these are not all of them, we'll get to the rest later! If you only use adjustments layers to edit your images, you will be making non-destructive edits!
Levels - Adjusts the brightness and contrast using a histogram that represents the tonal values in an image.
Color Balance - Adjusts shifts of color in an image. If an image appears too blue you can make it warmer or more yellow using this tool.
Hue Saturation - Hue is the name of a color, saturation is a color's intensity. An image with no saturation contains no color information, only information on the brightness or darkness of each pixel. This tool adjusts the saturation of any particular hue in an image, or the overall saturation of all the hues.
How to make a New Adjustment Layer in Photoshop CS4?
Chose Layer -> New Adjustment Layer -> Levels (or any other desired type of adjustment from the list)
In the post below you can review the information covered in the demo given in class on 9/14/2009. Remember these videos are a supplement to the material covered in lecture andare NOT a substitute!
Image Adjustment Tutorials
Here are three informative videos (all using pets) on image adjustment using Adobe Photoshop. They are made using a windows interface and a previous version of the software, but remember, all the same menu items exist on the Apple computers we are using in class.
Wednesday, September 9, 2009
Wednesday, September 2, 2009
QUIZ
Define the following terms:
Resolution
PPI
DPI
Megapixel
Monitor Resolution vs. Printer Resolution
Bit Depth
Grayscale
RGB
CMYK
JPEG
TIFF
RAW
PSD
1. Which aperture allows more light through the lens, f/22 or f/2.8?
2. Which shutter speed allows more light through the lens, 1/125th or 1/500th?
3. What are the two ways your camera controls the amount of light passing through the lens?
4. Which ISO/ASA needs more light to make a proper exposure, 400 or 100?
5. The equivalent exposure for f/11 @ 1/60th is f/4 @ ____?
6. Which exposure lets more light through the lens?
f/2.8 @ 1/500th or f/5.6 at 1/250th
7. You have two cameras set to differnt ISO/ASA, shutter speed, and aperture settings. Camera A has the following settings - f/4 @ 1/60th @ ISO 400. Camera B has the following settings - f/8 @ 1/60th @ ISO 800. Which camera has the greater exposure?
Resolution
PPI
DPI
Megapixel
Monitor Resolution vs. Printer Resolution
Bit Depth
Grayscale
RGB
CMYK
JPEG
TIFF
RAW
PSD
1. Which aperture allows more light through the lens, f/22 or f/2.8?
2. Which shutter speed allows more light through the lens, 1/125th or 1/500th?
3. What are the two ways your camera controls the amount of light passing through the lens?
4. Which ISO/ASA needs more light to make a proper exposure, 400 or 100?
5. The equivalent exposure for f/11 @ 1/60th is f/4 @ ____?
6. Which exposure lets more light through the lens?
f/2.8 @ 1/500th or f/5.6 at 1/250th
7. You have two cameras set to differnt ISO/ASA, shutter speed, and aperture settings. Camera A has the following settings - f/4 @ 1/60th @ ISO 400. Camera B has the following settings - f/8 @ 1/60th @ ISO 800. Which camera has the greater exposure?
Tuesday, September 1, 2009
Contemplative, Responsive, Directorial
Your Next Assignment...
In the essay titled, The Directorial Mode, the author, A.D. Coleman breaks the making of photographs into different categories. For this assignment we’ll refer to those as contemplative, responsive, and directorial.
Contemplative photographs are pictures made by noticing, waiting, looking, and thinking. Pictures by Ansel Adams and Michael Kenna are examples of contemplative photographs - pictures made by looking and contemplating… such as landscapes.
Responsive photographs can be thought of as pictures taken by photojournalists and documentarians. The photographer responds to an event happening at a certain moment by choosing to make a photograph of it. Imagine you are walking down the street and you see a dog flying…yes flying. You take a picture and in doing so are responding to seeing a flying dog.
Contemplative and Responsive photographs are similar in that both are considered pictures of “real” or naturally occurring events/places/situations.
A.D. Coleman describes directorial photographs as…
“…the photographer consciously and intentionally creates events for the express purpose of making images thereof. This may be achieved by intervening in on going “real” events or by staging tableaux – in either case, by causing something to take place which would not have occurred had the photographer now made it happen. “
The Untitled Film Stills by Cindy Sherman are photographs made in the directorial mode. She, as the photographer, chose to dress up, arrange a set, and fabricate a situation for the sake of making a photograph.
Here is your assignment:
Make at least 50 exposures for each mode - contemplative, responsive, and directorial. Bring no less than 150 images, shot for THIS assignment to class on Wednesday, 9/9/2009. This is a firm due date and counts for 1/3 of the grade on this assignment. We will be learning how to make our first fine prints with this assignment. The next three class meeting are essential to understanding this process.
The due date and number of prints due will also be discussed during our next class.
In the essay titled, The Directorial Mode, the author, A.D. Coleman breaks the making of photographs into different categories. For this assignment we’ll refer to those as contemplative, responsive, and directorial.
Contemplative photographs are pictures made by noticing, waiting, looking, and thinking. Pictures by Ansel Adams and Michael Kenna are examples of contemplative photographs - pictures made by looking and contemplating… such as landscapes.
Responsive photographs can be thought of as pictures taken by photojournalists and documentarians. The photographer responds to an event happening at a certain moment by choosing to make a photograph of it. Imagine you are walking down the street and you see a dog flying…yes flying. You take a picture and in doing so are responding to seeing a flying dog.
Contemplative and Responsive photographs are similar in that both are considered pictures of “real” or naturally occurring events/places/situations.
A.D. Coleman describes directorial photographs as…
“…the photographer consciously and intentionally creates events for the express purpose of making images thereof. This may be achieved by intervening in on going “real” events or by staging tableaux – in either case, by causing something to take place which would not have occurred had the photographer now made it happen. “
The Untitled Film Stills by Cindy Sherman are photographs made in the directorial mode. She, as the photographer, chose to dress up, arrange a set, and fabricate a situation for the sake of making a photograph.
Here is your assignment:
Make at least 50 exposures for each mode - contemplative, responsive, and directorial. Bring no less than 150 images, shot for THIS assignment to class on Wednesday, 9/9/2009. This is a firm due date and counts for 1/3 of the grade on this assignment. We will be learning how to make our first fine prints with this assignment. The next three class meeting are essential to understanding this process.
The due date and number of prints due will also be discussed during our next class.
Photoshop CS4 Keyboard Shortcuts
I came across the COMPLETE list of Photoshop CS4 shortcuts. It's a bit overwhelming. Feel free to use it, but I suggest you use endless patience and a magnifying glass.
LINK TO EVERY SINGLE PHOTOSHOP CS4 KEYBOARD SHORTCUT
The handout provided in class provides a much smaller list of useful keyboard shortcuts. No magnifying glass required.
Here's a link to some Photoshop CS4 tutorials.
I also found this really wonderful graphic mapping out all the tools in CS4, click to enlarge it.
LINK TO EVERY SINGLE PHOTOSHOP CS4 KEYBOARD SHORTCUT
The handout provided in class provides a much smaller list of useful keyboard shortcuts. No magnifying glass required.
Here's a link to some Photoshop CS4 tutorials.
I also found this really wonderful graphic mapping out all the tools in CS4, click to enlarge it.
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