Photo 2 Midterm

Global Corrections

• LEVELS - creates/adjusts exposure

• CURVES - creates/adjusts contrast

• COLOR BALANCE - adjusts color casts in highlights, midtones, and shadows

Local Corrections

• Quick Select to make a selection

• Adjustment layers (curves, levels, color balance) can be added to make local corrections in that selection

• White areas in mask = areas that are altered

• Black areas = areas that are not affected

• Paintbrush to paint mask - use lower opacities to create softness

Methods of selecting

• Quick mask - very exact. paint the areas you want selected

• Quick select - down and dirty, detects difference in tone of edges

• Magic wand - a little more exact, selects by tone of similar pixels

Layers

• Copy & Paste - creates new layer

• Rotate, flip, distort - made through edit, transform

• Opacity - only works w/ layers. BACKGROUND is not a layer.

• Blending modes - changes effect of layer (overlay, color dodge, etc)

Clipping Mask

• There’s a base layer that acts as the mask

• The clipped layer is on top - takes on the shape and boundaries of the layer below

Layer Masks

Blends layers. Good for seamless images.

Blending Modes

• Controls how the pixels of one layer (the blend layer) interact and mix with the pixels of the layer beneath it (the base layer).

• They are non-destructive

File Formats

• PSD - Photoshop document, preserves layers, masks, etc. Used for designing and editing

• TIF - High resolution format that uses lossless compression, meaning no image data is thrown away. (used for scans)

• JPG - Lossy image format, permanently discards tiny, unnoticeable details to shrink file size

Proper use of the scanner

• Place document face-down - adjust settings for resolution and file type, save output.

• Adjust resolution based on how big or small the scan will be in your work.

Scanning formula

• Input (ppi) = magnification x output (dpi)

• dpi (dots per inch)

• always 300 dpi

• important to know how big to blow up a scan/image

• Example: 1200 ppi = 4 x 300 dpi 

• 6000 = 20 x 300 dpi

ISO

• Controls how sensitive the sensor will be to available light.

• Low numbers = less sensitive

  • under 400

• High numbers = very sensitive

  • over 800

  • more sensitive and more noise

Aperture

• a hole, opening, or gap that controls how much light passes through

• F stop is the numerical measurement or ratio used to describe the size of that opening

  • F-stop - low numbers - shallow depth of field and more light. high numbers - wide depth of field and less light will be let in.

  • large opening, shallow depth of field - under 5.6

  • small opening, wide depth of field - above 11

Shutter Speed

• Controls how long the light will be let in for.

• numbers represent fractions of a second

• low numbers = shutter opens and closes slowly

  • more light is let into the camera but movement will be captured

• high numbers = shutter opens and closes quickly

  • light is let into the camera for a smaller fraction of a second. movement is frozen.

• 60-2000 freezes motions

• 2” - 30 captures movement

Light Meter

• light meter tells you if the image will be over, under or correctly exposed.

• 0 = correctly exposed, negatives = underexposed, positives = overexposed

Stop

• a unit of measurement that describes a doubling (increasing by one stop) or halving (decreasing by one stop) of the amount of light in an exposure

Shooting in Camera Raw

• uncompressed file format

• gives maximum control and flexibility

Angie Buckley

family history, memory, identity, uses old photographs

Sam Wang

circular images, mainly black and white

David Hillard

large-scale, multipanel color photographs based on his experiences

Priya Kambli

indian cultural experiences, relates color content and form, immigrants trying to embrace the american way of life

Thomas Kellner

filmstrips printed in full, create large photos, proximity and alignment of vertical contents throughout the image

Dan Estabrook

combined use of historic photographic processes and drawing, his process combines with form and content to create meaning, seen in his diptychs and grid images, diptychs pair original paper negatives with their resulting positive prints

Olivo Barbieri

makes huge waterfalls and coastlines seem like small/miniature models

Sean Wilkinson

out of focus’s photos, subject and background merge, light dissolves edges

Cynthia Greig

between humorous irony and serious theoretical photographic study, juxtaposes miniature objects in the frame with their actual size human users

Virgilio Ferreira

lack of focus metaphorically, hazy look, a world of strangeness and similarity hallucinatory made of blurred and ever changing boundaries