Quiz #3 Answers

FIT 274            Quiz 3               Answers

1.              A device’s color space defines the “range of colors” the device can accurately produce, otherwise known as what?            ____Gamut____

2.              Layer Blending Modes allow you to change how the pixels of one layer interact with the layers below.           

True               /            False

3.              Name two Layer Blending Modes.           

Multiply, Soft Light, Lighten, Overlay, Screen, Color, Luminosity, etc.                      

4.     A raw file can be opened as a smart object layer with the processing information embedded within it.

True               /            False

5.              Clicking the Camera icon in the History palette temporarily records your current history state by creating a:
A -  Pretty Picture            B -  Snapshot                        C -  New Document                        D -  Channel

6.              What is the term for this definition; A resampling or adding of pixels by the computer to increase resolution in a digital file.            Upsampling OR Interpolating           

7.              Once you’ve sized an image and are ready for printing, you should not sharpen the image.                       

True               /            False

8.              What would all of the RGB #’s read if we are looking at a perfect Cyan pixel?  

R=__0__  G=__255__  B=__255__

9.              Describe the tone AND color of the following pixel based on the RGB info:
R=66            G=50            B=66              =     ___Dark Magenta (slight Magenta!)____

10.           What is the complimentary color of Red?                       

____Cyan_____

11.           Applying a clipping mask to an image layer that is above a type layer will place the image inside the text.           

True               /            False

12.           In order to apply a filter to a Type Layer you must do what to the layer?  (Hint: I’ll accept either answer!)
_____Rasterize it OR turn into a Smart Object_____

13.           A pixel with 4 bits of information has how many tonal levels?                       

A -  4                        B -  16                        C -  128                        D -  256

14.            Painting on a Layer Mask with what color will mask the pixels of that layer? 

 ____Black_____

15.           Name one Layer Style Effect. 

Inner Glow, Outer Glow, Drop Shadow, Inner Shadow, Bevel and Emboss, Stroke, Color Overly, etc.

16.  You can apply more than one Layer Style effect to a type layer.

True               /            False

17.  When you clip an image to a text layer, the text is no longer editable.           

True               /            False

18.  In Adobe Camera Raw you can use the Adjustment Brush to make small local changes to Exposure, Contrast, Saturation, and Sharpness, among others.

True               /            False

19.    What is the name of this tool and what does it do?      Direct Selection Tool: Adjust anchor points and toggle points along a path, or line segments of a path.

20.    What is the name of this tool and what does it do?      Dodge Tool: Lightens areas of an image based on the tool's brush size and exposure settings

21.   What is the name of this tool and what does it do?      Horizontal Type Mask Tool:  Creates a text based selection (*not a type layer which you can edit!)

22.  Chromatic Aberration can be corrected in Adobe Camera Raw’s Lens Correction tab.

True               /            False

23.  You can convert a path into a selection.

True               /            False

24.  When editing an image for print, the working space for Adobe Photoshop should be sRGB.

True               /            False

25.  Puppet Warp allows us to transform image pixels by placing pins on a mesh grid.

True               /            False

Extra Credit Question: 

What’s the name of the man who founded Kodak and patented the first roll-film camera,

helping to bring photography to the mainstream? (+4 points)

________George Eastman________

Week #14: 12/13/11 A4 Compositie Work

“My passport photo is one of the most remarkable photographs I have ever seen - no retouching, no shadows, no flattery - just stark me” - unknown

Finish A4 and print for CRITIQUE 

Study for the FINAL EXAM! 

*Digital Files for the department archives (All Major Photography Classes):
Please submit ALL 4 Assignment image files to the "Archives" folder on the class server.

The files should be 72 DPI and approximately 1600 pixels at the longest dimension saved as the highest quality .jpg format.

Please name the files as follows:  "PH274_StudentsLastName_1.jpg"

Week#12: 12/1/11 Type Tool, Layer Styles, Replacing Color

"All photographs are accurate. None of them is the truth." - Richard Avedon

"This is the same problem I have with digital photography. The potential is always remarkable. But the medium never settles. Each year there is a better camera to buy and new software to download. The user never has time to become comfortable with the tool. Consequently too much of the work is merely about the technology. The HDR and QTVR fads are good examples. Instead of focusing on the subject, users obsess over RAW conversion, Photoshop plug-ins, and on and on. For good work to develop the technology needs to become as stable and functional as a typewriter. 

- Alec Soth - Soth, Alec. "Toy Fatigue", Alec Soth - Blog, November 26th, 2006.  

NY Times article on the ethics of using Photoshop

Assignment #4 

Today we will begin Assignment #4, your final assignment of the semester.  A final print (at least 8x10 on photo paper) from the assignment is due the last day of class on 12/15/11.  You are welcome to choose from the following list for your final assignment:

- Maggie Taylor inspired composite (unless you completed it for A3)

- Metal Objects composite on white (provided images and/or acquired images), then masked into an existing scene that you can shoot or find via stock photography

- Self proposed project with my approval 

Week #10-11: Work on A3 Composite

The 11.10.11 and 11.17.11 classes will be primarily used to work on Assignment #3.  I will be going around working with each of you one-on-one to address any advanced retouching issues you may need help with. 

Assignment #3 print will be due for critique after Thanksgiving break on 12.1.11.

HAPPY THANKSGIVING!

Week#9: 11/3/11 Paths and Compositing

"Photoshop is useful in many ways but must NEVER be used for the altering of photographs. My assistants and my agency do whatever Photoshop work for me that may be required as it is too complicated for my brain. - Elliott Erwitt - On the question; Do you use Photoshop in your workflow? "

Begin A3 Composite Project!

Pen Tool and Vector Paths
*See last week's post for Pen Tool handout*

Week #8: 10/27/11 Critique A2 + Compositing

"Retouching had become controversial ever since Franz Hanfstaengl of Munich showed at the 1855 Exposition Universelle in Paris a retouched negative with a print made from it before and after retouching. It was, Nadar recollected, the beginning of a new era in photography." - Beaumont Newhall, History of Photography by Newhall, Beaumont Newhall

Critique of A2: Retouched Portrait

A3 Composite Project Discussion

Paths???

Week #7: 10/20/11 Advanced Portrait Retouching

"If you want reality take the bus." - David LaChapelle  
 

"I do not object to retouching, dodging. or accentuation as long as they do not interfere with the natural qualities of photographic technique." - Alfred Stieglitz

  Even more advanced retouching on our portraits!  On today's agenda is the following:

• Instead of liquify... Puppet Warp, Warp Transform, or Simply Transform a selected area
• Color and tone on select areas (eyes, lips, teeth, eyebrows, etc.)
• Hue/Saturation adjustments
• Skin Smoothing
• Sharpening  

I would also suggest you take advantage of the free Lynda.com tutorials offered to FIT students via the myFIT webpage under Web Resources.  Of particular interest should be Photoshop CS5: Portrait Retouching by Chris Orwig.  

 

Week #6: 10/13/11 Portrait Retouching Continued

"The painter constructs, the photographer discloses." - Susan Sontag                      "People say photographs don't lie, mine do." - David LaChapelle  

Portrait Retouching Continued!  

 

A2: Portrait Retouching (due 10/20/11)

Assigned: Week #5 10/6/11

Due Date: Week #8 10/27/11

Images Due:  One 11”x14” (minimum) Print

This assignment will introduce you to advanced retouching techniques that specifically relate to retouching portraits.  You will be supplied a photograph of your own self-portrait to learn the skills on.  I think you are all absolutely perfect the way you are…but, thought this may be a fun way to push the envelope without offending anyone other than yourself! ;)

You will be given three full weeks to retouch this file so I am expecting a professional level of retouching on this image. While it may not be practical for your style or taste of photography, this portrait is to be absolutely polished - It should involve multiple hours of time and practice to produce an image that showcases all the techniques I will share with you.

Below is a list of steps, layers, and techniques that are to be applied to the image (among others): 

• Properly processed raw file opened as a Smart Object base background layer
• Duplicate layer that showcases the Liquify Filter (Sharpen Tool on areas if necessary)
• OR Puppet Warp tool, or Warp Tool, or simply use Free Transform on a selected and copied image area
• Dodge and Burn Layer
• Blank Retouching Layer
• Blank Color Layer
• Selections (eyes, teeth, etc.) for color and tone adjustment layers
• Possibly some Advance Smart Filters for skin smoothing
• Defining of eyebrows, lips, etc.
• Resize by Cropping to 11x14 @ 300dpi
• Stamp Visible a top layer that you will convert to Smart Object and add a Sharpening Filter to
• Save the Layered PSD file for submission to the class server
• Output an Digital C-Print or Inkjet Print on Photo Quality Paper (surface of your choice) 
• Utilize a proper color management workflow with correctly assigned profiles

Week#5: 10/6/11 Portrait Retouching

"There are 3 key things for good photography: the camera, lighting and... Photoshop." - Tyra Banks

© Scott Nobles Photography - Portrait Retouching

The next couple of weeks will encompass the wonderfully unethical world of portrait retouching!


Attached below please find some helpful handouts that relate to the following:

• Portrait Retouching Checklist
• Adding a Curves Adjustment Layer (this should be a refresher on how to properly correct for color and tone!)
• Adding a Clipping Mask
• Adding a Blank Retouching Layer to record your clone stamp and healing brush strokes
• Adding a Dodge and Burn Layer to record your dodge and burn strokes

Week#4: 9/22/11 Color Management Workflow

"Sitting over a hot computer ain't my idea of fun. My creativity goes almost completely into picture taking. (But) I suppose if I ever retired, I would enjoy learning the Photoshop craft far more than playing golf." - Herbert Keppler - On going digital. (Popular Photography & Imaging, January 2005)

" Focus on content.. be color blind." - Lakshman Iyer

Today we'll be talking about proper color management workflows and how to take an image from monitor to print with as much color accuracy as possible.

Colors on a monitor are displayed using a combination of RGB light, while printed colors are typically created using a combination of 4 inks CMYK.  Because the RGB and CMYK color models use different methods to display colors, each produces a different gamut, or range of colors. 

The color space for a device is defined by the gamut it can produce. And an ICC profile is a description of a device’s color space.  The profiles are used to help ICC systems communicate properly and translate your color gamut from device to device accurately.

Proper Color Management Workflow diagram:

Color Management Workflow:

STEP 1:  Calibrate your monitor

STEP 2:  Set up the Photoshop Color Management Environment

STEP 3:  Assign a Profile to the image

STEP 4:  Soft Proof your image on screen

STEP 5:  Print your Color-Managed image using ICC Printer Profiles

Below is a handout detailing the proper color management workflow steps for printing to an Epson inkjet printer. 

 

Great links for additional Color Management information:

Digital Photography Best Practices Workflow website

digitalphotopro.com magazine article

A1: Time of Day Composite

Assigned: Week #3 9/15/11

Due Date: Week #5 9/29/11

Images Due:  One 11”x14” (minimum) Print

The purpose of this assignment is to understand a proper color management workflow while experimenting and utilizing advanced layer mask techniques.  You are to photograph the same scene throughout the day (or multiple days!?) and combine at least 6 files together in a seamless composition.  This assignment is inspired by the work of Stephen Wilkes (among others), so I suggest familiarizing yourself with this technique before starting.  I would also advise you to use a tripod and choose a location that is not only interesting, but a location that you have the ability to easily go back to on multiple occasions. 

Details regarding the assignment: 

• Always Shoot Raw!
• Composite in Photoshop using the techniques discussed in class
• Output a Digital C-Print or Inkjet Print on Photo Quality Paper (surface of your choice)
• Utilize a proper color management workflow with correctly assigned profiles

Be Creative and have fun!

Week #3: 9/15/11 More Raw, Bridge, + Layer Masks

"A toast to film? You bet. But don't forget the Photoshop chaser." 

- Herbert Keppler - Film vs. Photoshop. (Popular Photography & Imaging, March 2006)

© Stephen Wilkes

  

Stephen Wilkes article on pdnonline

Today's class involves diving into more advance Adobe Camera Raw processing skills as well as understanding how to process multiple images with the same settings.  We will also be delving into Adobe Bridge file browsing and management software.  Finally we will be combining multiple raw conversions into one seamless image as an in class project.


Among the tools you be learning are Spot Tool, Chromatic Aberration correction, opening raw files as Smart Objects, Layer Masks, Clipping Masks, among others.


Homework includes a shooting and compositing assignment inspired by the work of Stephen Wilkes.

Week #2: 9/8/11 Understanding Color + Tone

Understanding the Digital RGB #s 

"As an artist, I work to gain technical skill in order to become more fluid, more expressive and more creative in my craft. Technique is always at the service of creativity". - Evan Chong

As explained last week, most of the color images you will be working on in PS are 8bits/channel.  And you learned that your images have 3 total channels -- Red, Green, and Blue, which can be viewed independently in the channels palette and in the info palette. And 8 bits when multiplied by the 3 channels gives you a total of 24bits of information per pixel, or 16.7 million colors.  This is known as the bit depth, or color depth, of your image and describes how many colors each individual pixel can have!


Back to 8bits/channel though, which is to say 256 tones/channel.  This gives you a tonal scale of 0 to 255 for each channel (RGB).  When all channels are set to 0 and turned off, you have a black pixel.  All turned on to 255, you have a white pixel.  And as long as the RGB numbers are equal, you are looking at a neutral gray pixel (darker if the numbers are closer to 0 and lighter if they are closer to 255).  

The RGB numbers for each pixel in your image can be viewed in the Info Palette and the information can be used in Levels or Curves to properly balance the color and tone in your image.  In fact, having an understanding of these numbers is one of the most useful things I can teach you in this class.  With this knowledge, you can almost guarantee yourself proper printing results with most of your images.


Please take a look at the below handout for more information on RGB numbers:

Adobe Camera Raw:

http://tv.adobe.com/watch/software-cinema-for-photographers/adobe-camera-raw-basics

0:00-1:47(Raw)  4:50-7:05(Tools/WB)  12-21(Exposure)  35:35-42:20(Sharpen)

SYLLABUS: FIT 274-102 PS 2

Below are some excerpts from the course syllabus.  

Images of the full syllabus can be clicked on and viewed below.

Course Description: 

2 credits; 1 Lecture and 2 Computer lab hours per week

            Within this course, students learn intermediate and advanced Adobe Photoshop software skills and techniques. Students develop an advanced knowledge of layers, channels, curves, image merging, and color correction. Topics covered will include the extensive use of Adobe Bridge, camera raw processing, file formats, resolution and compression, enhanced retouching skills and tools, creating PDF presentations, and how to automate a simple web photo gallery.     

Learning Objectives: 

Upon successful completion of this course students will be able to:

• Demonstrate proficiency of the Adobe Photoshop program software
• Create a thoughtful connection between the ethics of image design and image manipulation
• Develop and use a proper color managed digital workflow
• Enhance photographs using more sophisticated tools such as curves, high-pass sharpening, layer modes, and paths for advanced selection techniques 
• Prepare images for output and produce quality digital inkjet and digital-C prints

Evaluation Criteria: 

            10%            Class Attendance and Participation

            20%            Quizzes and Final Exam

            20%            Homework assignments / Class Projects

            50%            Completed Personal Assignments

Week #1: 9/1/11 Welcome!

Welcome to Fall Semester 2011 Photoshop 2!

I'm very much looking forward to sharing my knowledge of Photoshop with you, and I can only hope you are just as excited to utilize and explore PS as a creative tool in the world of photography!

Before getting started, I wanted to point out that I like to begin each class with a quote that relates to that week's discussion material.  I think it's a fun way to introduce the lecture and I hope you enjoy them.  Below is our first quote, surprisingly enough not from a photographer but from Vincent Versace.  I think it sums up my philosophy about Photoshop, and shares with you how I'll approach teaching the course! 

 

"Photoshop is not a verb. It is a noun. It is the means to an end, not the end itself." - Vincent Versace

To have an understanding of Photoshop, you must first learn how the program "sees" your image.  The most basic picture element of a digital photograph is a "pixel" and an image is made up of a lot of these.  Photoshop simply manipulates the color, tone, and position of these pixels in order to achieve the photographer's desired results.  But before you start retouching, I want you to understand how the colors and tones of each pixel are interpreted by Photoshop, and ultimately by you as a Photoshop user!

As in photography, it all starts with light and specifically the mixing of 3 primary colors together to achieve all the other colors we can possibly see. 

The Additive Process involves mixing Red, Green, and Blue light together in varying proportions to produce any color.  The RGB color method is used in today's digital camera sensors, television sets, and computer monitors, and was was used in early color film photography.  Adding red, green, and blue light together in equal amounts will produce white light.  Mixing just 2 of the additive primaries together will produce one of the subtractive primaries (see below).

 

RGB = Additive Primaries (CMY = Subtractive Primaries used in printing along with black or K)

Equal amounts of RGB light mixed together = White light