Light painting by Hyun Moo Lee
Wednesday, December 7, 2011
Bridge VS Lightroom
http://tv.adobe.com/watch/adobe-evangelists-julieanne-kost/should-i-use-lightroom-or-bridge/
Hmmm interesting
Hmmm interesting
Monday, December 5, 2011
SKIN!!
Some basic skin softening techniques.
Workflow: Do you exposure adjustment in ACR. Create "empty layers" for your retouching you can clone and use healing brush in empty layers and it won't add "weight" to your file as it would if you were to add layer copies.Remember to rename these layers so that you can find your corrections quickly and easily. To adjust exposure, color or tones locally create a merged copy of your layers CMD+Shift+Option+E make a selection of the area that you want to adjust and create a new layer with only the selected area on it. Open up an adjustment layer make your adjustment and mask the adjusted area into the image.By working with smaller selected areas again you will not be adding to your file size greatly.Remember that adjusting your exposure will also affect your color. Once you have done all of your adjustments, create a new merged layer copy, CMD J to make a layer copy with the first copy "active" make a color range selection of the skin. Select skin with the lasso too. Invert selection. shift delete to bring up fill dialogue and fill with black.soften or feather edges of your mask to smooth ant transition areas. With thumbnail active go to the filters menu,choose blur. choose Dust and Scratches use the threshold and radius to create the effect that you want. Remember that you don't want to remove texture just make it look more even. You can adjust the opacity of you layer if you find that you went too far. Also you could come back to this softened layer and add a low level of noise 2% to add a type of false texture to the skin.Make sure that you use monochromatic noise.
Another approach would be to do all of the adjustments, make the new merged copy then go to your filters menu choose blur choose the blur that you prefer.Add a layer mask filled with black, do a color range selection of the skin to create your mask
add a new merged copy go to filter -other -high pass and use highpass sharpening to add some texture to the skin change your layer blend mode to "soft light"
Workflow: Do you exposure adjustment in ACR. Create "empty layers" for your retouching you can clone and use healing brush in empty layers and it won't add "weight" to your file as it would if you were to add layer copies.Remember to rename these layers so that you can find your corrections quickly and easily. To adjust exposure, color or tones locally create a merged copy of your layers CMD+Shift+Option+E make a selection of the area that you want to adjust and create a new layer with only the selected area on it. Open up an adjustment layer make your adjustment and mask the adjusted area into the image.By working with smaller selected areas again you will not be adding to your file size greatly.Remember that adjusting your exposure will also affect your color. Once you have done all of your adjustments, create a new merged layer copy, CMD J to make a layer copy with the first copy "active" make a color range selection of the skin. Select skin with the lasso too. Invert selection. shift delete to bring up fill dialogue and fill with black.soften or feather edges of your mask to smooth ant transition areas. With thumbnail active go to the filters menu,choose blur. choose Dust and Scratches use the threshold and radius to create the effect that you want. Remember that you don't want to remove texture just make it look more even. You can adjust the opacity of you layer if you find that you went too far. Also you could come back to this softened layer and add a low level of noise 2% to add a type of false texture to the skin.Make sure that you use monochromatic noise.
Another approach would be to do all of the adjustments, make the new merged copy then go to your filters menu choose blur choose the blur that you prefer.Add a layer mask filled with black, do a color range selection of the skin to create your mask
add a new merged copy go to filter -other -high pass and use highpass sharpening to add some texture to the skin change your layer blend mode to "soft light"
Skintones by the Numbers
A http://www.youtube.com/watch?v=eJiM-fsvQXE
A good starting point for skin tones!
A good starting point for skin tones!
Thursday, November 24, 2011
Smart Objects
http://tv.adobe.com/watch/visual-design-cs5/photoshop-smart-objects/
they really are smart!!Non destructive editing tools
they really are smart!!Non destructive editing tools
Tuesday, November 22, 2011
Channel Calculations, more Alpha Channel Masks
href="http://http://tv.adobe.com/watch/photoshop-for-video/calculations/">
More great tips from adobe TV, for blending 2 channels together to create a really good mask!
More great tips from adobe TV, for blending 2 channels together to create a really good mask!
Friday, November 18, 2011
Monitor Calibration
Commercial Photography Program (AEC)
PiL 2 Fall 2011
Assignment 1: Monitor Calibration and production of a Monitor Profile. 5%
Due: Class, Wednesday Sept 7
Purpose: To familiarize students with colour management issues and monitor
calibration.
Method: To be demonstrated in class.
• Use the ColorEyes software and “puck” to calibrate and create a proper profile
for your monitor.
• Choose 'CREATE MONITOR PROFILE' to begin the monitor calibration process;
follow the step-by-step onscreen instructions.
• Name the profile using the format "DATE + Computer# + your name"
(Ex: oct14_4G13-21_rhartling).
• Copy your profile, you should find it in the User/Library/Colorsync/Profiles
folder. Submit a copy to my Dropbox.
• The copy placed in my Dropbox must be in a folder titled PiL2_Ass1_1st initial
family name. (Ex: PiL2_Ass1_RHartling) If the folder isn’t titled properly the
assignment won’t be marked. (I receive hundreds of assignments in a semester.
You have to make it easy for me to find things.)
• Activate your monitor profile by going to the Apple icon drop-down menu and
selecting System Preferences -> Display -> Color . Choose your new
monitor profile in the list.
Submit:
One monitor profile. And that my friends, is it.
Commercial Photography Program (AEC
PiL 2 Fall 2011
Assignment 1: Monitor Calibration and production of a Monitor Profile. 5%
Due: Class, Wednesday Sept 7
Purpose: To familiarize students with colour management issues and monitor
calibration.
Method: To be demonstrated in class.
• Use the ColorEyes software and “puck” to calibrate and create a proper profile
for your monitor.
• Choose 'CREATE MONITOR PROFILE' to begin the monitor calibration process;
follow the step-by-step onscreen instructions.
• Name the profile using the format "DATE + Computer# + your name"
(Ex: oct14_4G13-21_rhartling).
• Copy your profile, you should find it in the User/Library/Colorsync/Profiles
folder. Submit a copy to my Dropbox.
• The copy placed in my Dropbox must be in a folder titled PiL2_Ass1_1st initial
family name. (Ex: PiL2_Ass1_RHartling) If the folder isn’t titled properly the
assignment won’t be marked. (I receive hundreds of assignments in a semester.
You have to make it easy for me to find things.)
• Activate your monitor profile by going to the Apple icon drop-down menu and
selecting System Preferences -> Display -> Color . Choose your new
monitor profile in the list.
Submit:
One monitor profile. And that my friends, is it.
Commercial Photography Program (AEC
Tuesday, November 15, 2011
Assignment-4
Assignment-4 Where did that person come from?
Using an image that contains a background that you like, add a person into the scene.
When you photograph the person remember to choose lighting that will compliment your background. If it’s a bright sunny day in your background, use harsher light sources. If it’s cloudy use, softer light sources. You must include a background, a person that you have introduced into the background using selections and masking. You must also include a shadow that is cast from the person
Due date Dec-2
1 A3 print +1 layered PSD file
Wednesday, November 9, 2011
Protecting your image with Selections
Protecting your image with Selections
-Make a selection of the area that you want to protect. the area beside the area that you want to remove.
invert your selection.
-Select the clone stamp make sure that you select, aligned and on all layers on the top of you screen.
-Make a new empty layer
-Use the clone tool to remove the edge of the item that you want to remove
-Use patch to correct any problems that you have with texture
-Make a selection of the area that you want to protect. the area beside the area that you want to remove.
invert your selection.
-Select the clone stamp make sure that you select, aligned and on all layers on the top of you screen.
-Make a new empty layer
-Use the clone tool to remove the edge of the item that you want to remove
-Use patch to correct any problems that you have with texture
Wednesday, November 2, 2011
Monday, October 24, 2011
Final Assignment-Mini Portfolio
Assignment 5 Final Assignment Mini-Portfolio 25%
Purpose
To introduce students to the concept of sequential imagery, as opposed to individual “one-off” efforts. Secondly, to familiarize students with the technical demands of creating a portfolio of ink jet prints.
Students will produce a mini portfolio of five A3 Ink Jet Images.Each print will be matted.
The portfolio must be integrated. That is, there must be a common thread or theme throughout the series. This common theme could be either stylistic or based on content,technique and resulting style. Students must propose a theme for their portfolio by October 26th-group 2 and October 28th-group 1
either in class or via email by Or the portfolio could pursue a common subject matter/content; architectural interiors, portraits or a Fashion.Images should be consistent in size, aspect ratio, paper surface, colour or
B/W, printing style and presentation.
A reminder that image impact and aesthetic considerations count fully as much as
technical excellence, in marking the assignment.
Submit at the beginning of class Dec 6th. No Late Assignments!!
Five matted A3 final Ink jet prints.
Print files should be sized to fit an A3 sheet at 240 DPI, PSD or TIFF.
For the purposes of this assignment students must print in-house. Home or externally made prints are not acceptable.
The prints must be identified with the teacher's name, your name, the course name and the assignment number on the back of each print.
The portfolios will be reviewed in class by both Roy and Laurel no extensions! One Date only!!!
Marking: The project will be marked on technical competence; correct colour or proper distribution of tonal values, shadow detail, highlight detail, sharpness and impact of the sequencing. Professionalism in presentation will be taken into account as well.
Purpose
To introduce students to the concept of sequential imagery, as opposed to individual “one-off” efforts. Secondly, to familiarize students with the technical demands of creating a portfolio of ink jet prints.
Students will produce a mini portfolio of five A3 Ink Jet Images.Each print will be matted.
The portfolio must be integrated. That is, there must be a common thread or theme throughout the series. This common theme could be either stylistic or based on content,technique and resulting style. Students must propose a theme for their portfolio by October 26th-group 2 and October 28th-group 1
either in class or via email by Or the portfolio could pursue a common subject matter/content; architectural interiors, portraits or a Fashion.Images should be consistent in size, aspect ratio, paper surface, colour or
B/W, printing style and presentation.
A reminder that image impact and aesthetic considerations count fully as much as
technical excellence, in marking the assignment.
Submit at the beginning of class Dec 6th. No Late Assignments!!
Five matted A3 final Ink jet prints.
Print files should be sized to fit an A3 sheet at 240 DPI, PSD or TIFF.
For the purposes of this assignment students must print in-house. Home or externally made prints are not acceptable.
The prints must be identified with the teacher's name, your name, the course name and the assignment number on the back of each print.
The portfolios will be reviewed in class by both Roy and Laurel no extensions! One Date only!!!
Marking: The project will be marked on technical competence; correct colour or proper distribution of tonal values, shadow detail, highlight detail, sharpness and impact of the sequencing. Professionalism in presentation will be taken into account as well.
Creating an Alpha Channel Mask
Creating an Alpha channel mask
Creating a mask by copying one channel and creating contrast. Our in class example was replacing the sky behind the tree.
This demo explains the technique well.
Creating an Alpha channel mask-Example the sky-tree demo-http://infiniteskills.com/blog/2011/03/how-to-create-alpha-channel-masks/
In our second in class demo we replaced the background of a studio image by again selecting the blue channel>-making a copyby dragging it to the copy icon on the bottom of the dialogue box. Go to the Image menu choose-Apply Image using a blend mode of Multiply. Using your Brush tool paint over the image with the brush in the Overlay blend mode. When painting with black the dark pixels will be affected and the light ones should remain untouched. When painting with white, the light pixels will become lighter but the dark pixels should remain unaffected. Build up contrast until you have a black and white silhouette. click on the letters RGB in the RGB channel. Drag the image that you want to use as a background onto the first image. With your channels dialogue open drag the blue channel copy onto the load as selection icon(the one that looks like a circle made up of dotted lines.you will notice that the selection has become visible as marching ants on the new background.
Make sure that the layer that will become your background is active. Hit the Add layer mask icon. and BOOM you will see the selection that you have made burn through the background layer example above. You should use a blend mode of multiply in your layers panel. You may need to make the channel mask active to work a little more on your mask with the brush tool using either black or white. to make it perfect.You could also go to maskand use the refine mask dialogue A slightly feathered edge(1 Pixel) can make the edge blend more easily with the background.
Sunday, October 23, 2011
Thursday, October 20, 2011
Assignment-3 Stop Motion
Professional Photography Program (DEC) Fall 2011
Digital Lab 3 Value 20%
Assignment Introduction to Adobe Premiere (Stop Motion Project)
!
Instructor Roy Hartling (rhartling@dawsoncollege.qc.ca)
Purpose To introduce students to the fundamentals of Adobe Premiere Video Editing Software through the creation
of a Stop Motion project.
Method Technique will be demonstrated in class
Submit Students will hand in one 25 to 45 second Stop Motion (not including Titles or Credits) as a High Resolution
mpeg or mp4 video file.
The assignment has to be submitted to my Dawson Network Dropbox (in the Faculty Folder) in a folder that is titled
DL3_StopMotion_1st initial_Family name. For example DL3_StopMotion_R_Hartling.
The folder must be properly titled. This is not a suggestion or optional. I receive large numbers of assignments in
my Dropbox, if I can’t find your assignment, I can’t mark it.
Due The assignment is due at the beginning of class on November 1st 2011. We will review the assignments in
class. No Exceptions!!
Please Note No late assignments will be accepted.
Digital Lab 3 Value 20%
Assignment Introduction to Adobe Premiere (Stop Motion Project)
!
Instructor Roy Hartling (rhartling@dawsoncollege.qc.ca)
Purpose To introduce students to the fundamentals of Adobe Premiere Video Editing Software through the creation
of a Stop Motion project.
Method Technique will be demonstrated in class
Submit Students will hand in one 25 to 45 second Stop Motion (not including Titles or Credits) as a High Resolution
mpeg or mp4 video file.
The assignment has to be submitted to my Dawson Network Dropbox (in the Faculty Folder) in a folder that is titled
DL3_StopMotion_1st initial_Family name. For example DL3_StopMotion_R_Hartling.
The folder must be properly titled. This is not a suggestion or optional. I receive large numbers of assignments in
my Dropbox, if I can’t find your assignment, I can’t mark it.
Due The assignment is due at the beginning of class on November 1st 2011. We will review the assignments in
class. No Exceptions!!
Please Note No late assignments will be accepted.
Tuesday, October 18, 2011
Assignment-4
Create a Panoramic image
To create this photograph you can use any number of images merged together. You can try a 360 degree Panorama or a simple scenic image a dramatic night shot or a daytime scenic vista. Remember that you can create an image that is either horizontal or vertical, it can include more that one row of images as well to create a more square result.
What to hand in. One print. Utilize at the minimum, the full width of the 22 inch printer,minus the required borders of course. The image doesn't have to be a specific width. Just whatever your panoramic image requires. Remember that a simple photo merge isn't the end of the process. Your image might benefit from some layer masking or even a little HDR. Make them exciting!!
We will look at your prints in class On November9th
Planet Pano!!
To create this photograph you can use any number of images merged together. You can try a 360 degree Panorama or a simple scenic image a dramatic night shot or a daytime scenic vista. Remember that you can create an image that is either horizontal or vertical, it can include more that one row of images as well to create a more square result.
What to hand in. One print. Utilize at the minimum, the full width of the 22 inch printer,minus the required borders of course. The image doesn't have to be a specific width. Just whatever your panoramic image requires. Remember that a simple photo merge isn't the end of the process. Your image might benefit from some layer masking or even a little HDR. Make them exciting!!
Planet Pano!!
Stop Motion-Premiere
Stop Motion Video
Professional Photography Program (DEC) Fall 2011
Digital Lab 3
Instructor Roy Hartling (rhartling@dawsoncollege.qc.ca)
Instructions for Adobe Premiere (Stop Motion Project)
You will need somewhere between 4 and 8 images per second of your Stop Motion Project.
Before getting started in Premiere Pro you’ll need to have taken your photos, copied them onto your computer and (in
this tutorial) made them 1920 x 1080. This is the default hi-resolution setting and is commonly known as 1080p. 1080p is
the best HDTV resolution you can get.
The easiest way to do this is through Lightroom, export your images, properly sized and exported as high high quality
JPGs tagged with sRGB.
Before you even open Premiere Pro, set up a folder on your Portable Hard Drive to contain all of the bits and pieces of
your Stop Motion Project. This is crucial.
Export your properly formatted image files to a folder within this project folder.
Premiere Pro will run most efficiently if you run it over two drives. The Hard Drive of the computer and (hopefully) a fast
portable hard drive for all your project files, (Images, sound files, sequences, project files).
Professional Photography Program (DEC)
Professional Photography Program (DEC) Fall 2011
Digital Lab 3
Instructor Roy Hartling (rhartling@dawsoncollege.qc.ca)
Instructions for Adobe Premiere (Stop Motion Project)
You will need somewhere between 4 and 8 images per second of your Stop Motion Project.
Before getting started in Premiere Pro you’ll need to have taken your photos, copied them onto your computer and (in
this tutorial) made them 1920 x 1080. This is the default hi-resolution setting and is commonly known as 1080p. 1080p is
the best HDTV resolution you can get.
The easiest way to do this is through Lightroom, export your images, properly sized and exported as high high quality
JPGs tagged with sRGB.
Before you even open Premiere Pro, set up a folder on your Portable Hard Drive to contain all of the bits and pieces of
your Stop Motion Project. This is crucial.
Export your properly formatted image files to a folder within this project folder.
Premiere Pro will run most efficiently if you run it over two drives. The Hard Drive of the computer and (hopefully) a fast
portable hard drive for all your project files, (Images, sound files, sequences, project files).
Professional Photography Program (DEC)
Assignment-2
Painting with light.
Create an image using several different exposures. One long exposure for the ambient light in the sky, and several short exposures using flash to light up a variety of different areas in your scene. You need to include a structure,or a vehile,that is lit both inside and out, and a person. The structure can be a house,a shed,a tent,a bus shelter, a bridge,a tunnel. The vehicle can be a car,boat,bus, plane(!)any thing that is enclosed. So that it can be lit both inside and out.
for inspiration go to www.thenoctures.com Also many interesting Youtube videos such as http://www.youtube.com/watch?v=RK_tBOT8xDc
What to hand in 1 layered psd file as well as 1-11x17 print. Please make sure that your file is called lastname_firstinitial_assignment_2. Also please make sure that you prints are clearly identified.
We will be looking at prints in class on Wenesday October 27th and Friday October 29
Create an image using several different exposures. One long exposure for the ambient light in the sky, and several short exposures using flash to light up a variety of different areas in your scene. You need to include a structure,or a vehile,that is lit both inside and out, and a person. The structure can be a house,a shed,a tent,a bus shelter, a bridge,a tunnel. The vehicle can be a car,boat,bus, plane(!)any thing that is enclosed. So that it can be lit both inside and out.
for inspiration go to www.thenoctures.com Also many interesting Youtube videos such as http://www.youtube.com/watch?v=RK_tBOT8xDc
What to hand in 1 layered psd file as well as 1-11x17 print. Please make sure that your file is called lastname_firstinitial_assignment_2. Also please make sure that you prints are clearly identified.
We will be looking at prints in class on Wenesday October 27th and Friday October 29
Refine Edge Tool
For a close up look at the refine edge tool take a look at this tutorial
http://tv.adobe.com/watch/learn-photoshop-cs5/using-improved-selecting-and-masking/
http://tv.adobe.com/watch/learn-photoshop-cs5/using-improved-selecting-and-masking/
Puppet Warp
Puppet warp is a new feature in CS5.Watch this tutorial by Dr Russell Brown
Puppet Warp-http://tv.adobe.com/watch/the-russell-brown-show/puppet-warp-tool/
Puppet Warp-http://tv.adobe.com/watch/the-russell-brown-show/puppet-warp-tool/
Healing Brush
This tutorial by Deke McLelland shows the incredible power of the healing brush!
Healing Brush- rotate etc-healing a new eye-http://www.lynda.com/tutorial/76067
Healing Brush- rotate etc-healing a new eye-http://www.lynda.com/tutorial/76067
HDR pro
For a good tutorial on using HDR Pro,watch this .
http://tv.adobe.com/watch/photoshopcafe-tv/new-in-cs5-hdr-pro-high-dynamic-range/
http://tv.adobe.com/watch/photoshopcafe-tv/new-in-cs5-hdr-pro-high-dynamic-range/
Creating an Alpha channel mask
Creating a mask by copying one channel and creating contast. Our in class example was replacing the sky behind the tree.
This demo explains the technique well.
Creating an Alpha cannel mask-Example the sky-tree demo-http://infiniteskills.com/blog/2011/03/how-to-create-alpha-channel-masks/
This demo explains the technique well.
Creating an Alpha cannel mask-Example the sky-tree demo-http://infiniteskills.com/blog/2011/03/how-to-create-alpha-channel-masks/
Content Aware
Content aware fill healing brush and scale are all great new automated features in Photoshop CS5 for a great demo on how to use content aware fill and healing brush this tutorial at www.tvadobe.com by Russell Brown will fill you in!
Content Aware –Fill and healing brush- http://tv.adobe.com/watch/adobe-evangelists-russell-brown/content-aware-fill-part-1/
http://tv.adobe.com/watch/adobe-evangelists-russell-brown/content-aware-fill-part-2/
Content aware scale this tutorial by Matt Kloskowski is great.
Content Aware Scaling- http://tv.adobe.com/watch/photoshop-with-matt/cs4s-content-aware-scaling-feature/
Content Aware –Fill and healing brush- http://tv.adobe.com/watch/adobe-evangelists-russell-brown/content-aware-fill-part-1/
http://tv.adobe.com/watch/adobe-evangelists-russell-brown/content-aware-fill-part-2/
Content aware scale this tutorial by Matt Kloskowski is great.
Content Aware Scaling- http://tv.adobe.com/watch/photoshop-with-matt/cs4s-content-aware-scaling-feature/
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