Multiplicity Masking

By taking several images in sequence, you can layer them in Photoshop to create a photo like the one above.

Above, I took 5 shots in a row as the girl walked across the frame. Although I held the camera as still as possible, I was not using a tripod, so I had to align the images before masking.

1. Shoot several images in a row with the same framing, having a subject move throughout the frame
2. Open each file in Photoshop. Start with one image, then Select > All, and Copy > Paste each image on top of that initial photo, creating a stack of layers like you see above.
3. Unlock the background image by double clicking on it, then hitting "OK" when you see the window pop up labeling it now "Layer 0".
4. Highlight all the layers by shift clicking them.
5. Go to Edit > Auto Alight Layers. Click OK for the "auto" version.
6. Now that the images are aligned, you can begin to mask. Add a mask to all the layers except the bottom one. Invert each mask to make it black.
7. Using a soft white brush, paint on the mask over the area where the girl stood in each frame.

Creative Filters & Collage

Adding Texture/ Blending Mode Multiply

To create antiquing effects, you can use images found online or you can shoot or scan textures you like. You can also photograph textures specifically for this technique. Drag the antique paper (or whatever texture you've found) to the top layer of your image. Change the blending mode of that layer to MULTIPLY and adjust the opacity as needed.




Notice the blending mode of the layer with the paper scan is "Multiply". You can also make a mask, and paint in with black and a low opacity brush to lessen the effect on certain areas of the image (like the face).

Extracting elements of scans for collage:
I found a scan of an old book where I liked the gold leaf border:

Select a certain area by using Select > Color Range (or the magic wand tool).  I made a selection of the gold border and copied and pasted it into a new empty layer (command C, command V).

Use 'Command T' (free transform) to change the size of the border to fit your image.


Download-able textures:

http://www.mayang.com/textures/

A lot can be found online, but be careful about using copyrighted imagery.


ACTIONS:
You can write your own action by opening your actions tab and clicking the new action icon at the bottom (page with corner folded). Anything you do will be recorded (until you press stop). You may consider recording a series of adjustment layers (like de-saturation, increased contrast, black and white, sepia etc) for an effect you like, then you can play it again later on another image.

PRESETS:
Presets are just for the RAW window. You can write your own and record the steps you have done (all the sliders you have adjusted) on the Presets Tab. (see below) You can also download Presets. You may consider de-saturation, increased contrast,and adding a vignette.

 

PLUG-INS:

There are a variety of downloadable plugins which have automated effects and which you launch through the Photoshop interface (usually via File > Automate). Some are free and others you have to buy. Some good ones are:

http://www.ononesoftware.com/products/suite7/
http://www.alienskin.com/exposure/
http://www.niksoftware.com/nikcollection/usa/intro.html

Compositing with Pen Tool, etc.

When you combine elements from different images into one, it's called compositing. The main task in doing this is "Selection". You can select a certain area of an image to paste it elsewhere using several different methods. For items with hard defined edges (like this bottle below), you could use the magnetic lasso, magic wand or the (most precise) pen tool. The Pen Tool creates a path, which can then be turned into a selection. For cutting out something with a fuzzier outline (like someone's hair, or a furry cat) it's a bit more complicated. You'll want to use a method like channels, refine edge or quick selection (see below).

Here are 2 videos which demo compositing and use the refine edge function:

http://tv.adobe.com/watch/learn-elements-to-photoshop/creating-a-composite-image/

https://helpx.adobe.com/photoshop/how-to/photoshop-refine-edge.html

Pen Tool (best for hard edges):

The Pen tool is the most precise way to select an area of an image. For example, if you want to cut someone out of an image and place them on a new background, you can trace the outline of the person most accurately with the pen tool.

The Pen tool does not write, it is just used to make a selection. You use it to make a path: a path is created by making several points on the perimeter of a that person you want to cut out . You then "connect the dots" to create an outline. This series of "dots" or anchors that you make is called a path. To see your path as it's created, go to WINDOW > PATHS and make sure there is a check next to it.

I generally work clockwise around the perimeter of an object to make a path. Make sure you are zoomed WAY in (like to 200%). Click to make an anchor. Click and pull to make an anchor with 2 arms that will create a curve.

Take this image for example. The original photo looks like this:

It was photographed on a white background, but looks grayish, and needs to be cut out and placed on a perfectly white background to look like a clean product shot. So we use the Pen Tool to cut it out, and create a new drop shadow:

After tracing around the entire bottle with the pen tool, I turned the path into a selection by clicking the little dotted circle at the bottom of the paths palette. (Path and anchors must be live/visible for this to work. If it's not working, click on your path with the pen tool until you can see the anchor points. Then click the dotted circle).

Notice the order of my layers above. On new separate layer under the bottle, fill that same shape with gray. EDIT > FILL with 50% gray. Lower the opacity and FILTER > BLUR> GAUSSIAN BLUR to make the shadow look more natural. Command T (or EDIT > FREE TRANSFORM) to make the shadow change position. You can also try EDIT > TRANSFORM > SKEW:

MORE ADVANCED COMPOSITES: 

For areas with fuzzy outlines, like a furry cat or someone's hair, making a selection using Refine Edge can be more successful.

Compositing with Quick Selection Tool:

1. Place the image of the subject on top of it’s new background
2. Using the quick selection tool (which is underneath the magic wand on the tool palette. "W" on your keyboard will take you there), make a selection of the subject. Use a small brush for detailed areas and to be more precise. Hold down command for the “minus” tool.
3. Select > Refine Edge. Use the “On layers” view.
4. Use the refine radius tool (next to "edge detection” to go around edges, especially hair.)
5. Export as a layer mask. Continue to refine the mask with black or white brushes as needed.

Here's another helpful video about making selections around soft edges like hair:

http://tv.adobe.com/watch/learn-photoshop-cs5/using-improved-selecting-and-masking/

The photo is by one of my students, Dona Foster. The new background (her idea) is a scanned in piece of old paper. This image worked especially well because there was a monotone background. You can use the quick selection tool to select the bird, then hit the Refine Edge button to separate the bird from the background.

Choosing the Right Lens

Prime Lenses: Don't zoom, they are fixed in one position. Advantage: generally cheaper and produce more sharpness/crispness/clarity. Disadvantage: you have to switch lenses often or move around! And you may have to buy several prime lenses to cover your bases, instead of one zoom lens.

Zoom Lenses:
Advantage: you don't have to move as much to get the shot you want, and don't have to switch lenses often. Disadvantage: more expensive, heavier, less sharpness.


What's the Difference between Fast and Slow Lenses?

"Fast" Lenses = you can shoot in lower light (fast lenses go to a low F-stop number, like F1.8 or F2.8)

"Slow" lenses = not great in low-light (slow lenses don't generally go to an F-stop number lower than F4 or F5.6)


Lenses are measured in length, by Millimeters (mm):

-Wide Angle (16mm, 24mm, 35mm...): show more of the scene
-Long (100mm, 200mm, 300mm...): Shoot things farther away (like a telephoto lens)
-Mid-range "normal" lenses are somewhere in between (40mm to 80mm? although it depends on the size of your sensor because lenses on full frame cameras will appear wider...see below).


Longer Lenses Condense the Background. See example image below (image credit: Lynda.com):

Image on left: 100mm lens.  Image on right: 24mm lens. (The photographer shot with a zoom lens and walked closer to the subject when taking the the wide angle shot on the right to be able to crop it the same.)

See how the background looks more condensed and closer in the image on the left? This can also be more flattering when taking portraits, as it doesn't spread the features as much (image credit here.)

Image on left: wide angle lens (24mm?). Image on right: longer lens (100mm?).

How does your sensor affect your lens? 

Cameras with a full frame sensor will make lenses seem wider. (These are generally more expensive or professional cameras so may not affect you). If you upgrade your DSLR to a full frame sensor camera, you may notice your lenses suddenly seem wider. (Some lenses may not be compatible when you upgrade).

In addition to an offered aperture (like F2.8) and length (like 50mm), lenses also contributes to the overall Color, Contrast and Sharpness of your image. Whereas these elements can be added later in Photoshop, it can often be to your advantage if it's done in the camera and offer a unique creative style.

***
Summary:

My favorite lens for portraits is the 50mm f1.8. You can find it at B&H here. You generally want to use a 50mm or longer lens when shooting a portrait (I'd say 50-100mm. Some say 80mm is the best.)

It's not very wide, so you will want a zoom lens as well. The more expensive ones that go to f2.8 are the nicest and assure that blurry background. Something like one of these.

I also have a fixed 28mm f2.8 lens I love. They say prime lenses (those that don't zoom" are a bit sharper. This is a bit too wide for a portrait, but great for group shots.)

The Broader Photo Community

In terms of continuing your involvement in photography, here are some ideas for those taking it to the next level:

Contests and Portfolio reviews are a good idea, especially if you want to try and get your work in front of magazine editors, curators or gallerists. Entry fees for contests are usually under $100. Portfolio reviews can be much pricier. Here's an annual one in Palm Springs that is popular.

Photo Alliance: A Bay Area based org dedicated to contemporary photography.  http://www.photoalliance.org/index.php?option=com_extcalendar&Itemid=63


SF Cameraworks: http://www.sfcamerawork.org
Local photo collective with photo related gatherings and exhibits

The Palo Alto Art Center hosts photo related workshops and classes

Filoli in Woodside also occasionally has photo related classes and workshops.

This blog is an amazing resource, updated regularly. It has current listings for national photo related events and contests via photography marketer Mary Virginia Swanson: http://mvswanson.com/category/mvs-marketing-blog

PDN is a photo industry magazine with annual contests (PDN Photo Annual is very well respected in the field)

Critical Mass/ Photolucida: http://www.photolucida.org/current.php
Photo organization offering contests and portfolio reviews
(Current contest open through July 16)

For photo business resources:
APA - American Photographic Artists
ASMP- American Society of Media Photographers

Photo Festivals and Portfolio Reviews
Photo Lucida
Photo NOLA
PDN Photo Plus
Review Santa Fe
Powerhouse Portfolio Review in Brooklyn
New York Photo Festival (events and reviews)

Women in Photography has ongoing Calls for Submission

Exhibiting your work: A lot of galleries have annual calls for submission where you pay an entry fee in the hope of getting chosen to have your work in a group show. Look on the website of a favorite local gallery to see if they offer this. Several galleries in Half Moon Bay offer juried shows, including the Coastside Land Trust.

Artist collectives like Gallery House in Palo Alto can be a good way to be part of the larger local artist community

Residencies are available worldwide for serious photographic artists, like Lightwork.

Selling prints of your work on etsy.com is another outlet.

Student Online Portfoliols

Noah: http://nrylanb.carbonmade.com/projects/5211456#1

Bree: http://bmitchell.carbonmade.com/projects/5211411#1

Nicole: http://nicoleselby.carbonmade.com/

Michael: http://www.clubmeakins.com/Stanford-Art-35

Eric: http://etheblue.carbonmade.com

Ray: flickr.com/photos/sail_on

Jim: www.jimwatkinsphoto.com

Luis: http://lcampero.carbonmade.com

Dennis: https://www.flickr.com/photos/denniscbarnard/sets/72157644647382855/show/

Combining 2 Images using a Mask

If you have taken 2 photos within seconds of eachother, you can combine them to get the best of each. Take for example these 2 photos (photos by Chris Orwig/Lynda.com). He is smiling in one, and she is smiling in the other:

Open up both files. Click onto one of them. Select All, Copy and then Paste it ontop of the other as a separate layer. Should look like this:

Now unlock the background layer by clicking on it. this "layer 0" window will appear. CLick OK, and the lock symbol goes away.

Now we need to align the layers since they are just slightly off. Highlight both layers (by shift clicking them) and then go to EDIT > AUTO ALIGN LAYERS. Choose the "Auto" option and hit OK. You may now need to crop the image a bit.

Next , click on the top layer. Then click the "add layer mask" button at the bottom. Invert the mask (command i).

Now, using a soft white brush, paint with white over the whole face that you want to reveal (in my case, his). Notice the white area I have painted on the mask:

By masking, we have gotten the best out of both photos!

Class Outline May 5 (week 5)

• Review of Curves Dodge & Burn
• Preparing Images for Print
• Preparing Images for Online Use
• Improving your digital workflow: shortcuts and organization.
• Bridge (renaming, rating, embedding copyright)
• Scripts and Actions

If we have time...

• Creative Photoshop Effects (collage making, blending modes, actions, etc)
• Black/white, sepia, vintage filters

• 
  

Compositing Artists

Compositing means combining more than one image to create a new one. here are some artists that use this in their work:


Peter Funch
The photo below is by Peter Funch of Times Square. It's a stunning example of composite photography, or multiple photos taken over time that have been digitally combined using masking.


Tom Mason


Jeff Liao (different areas of Queens)
http://www.digitalphotopro.com/profiles/jeff-liao-broadway-to-queens.html



Julia Fullerton-Batten does NOT actually use Photoshop to make composites for her "In Between" series (I've read), but rather uses elaborate sets and removes crash pads, strings, etc in photoshop with the clone tool. This is something one could do in Photoshop, however. If you were to attempt this, and whenever making a composite, make sure that the lighting, color temperature and shadows in both the subject and the background match.

Photographer Debbie Grossman photoshopped new faces into the historic Farm Security Administration photographs taken by Russell Lee in the 1940's in rural New Mexico. The series is called My Pie Town and explores ideas of gender, making all the inhabitants of this town female. The images are available in hi-res form via the Library of Congress, which is how she was able to do this project.

Debbie's Image:

The original image by Lee:

When it comes to news related stories or photojournalism, legally, photos cannot be altered. For example, take a look at this link of altered news images.

Putting Images Online

Standard Image Size for web:

-72dpi (resolution)
-Usually not wider than 600px

How to save images for Web:

****BE SURE**** NOT to save your original images as web size!!!! RESIZE DUPLICATES ONLY!! Saving an image for web shrinks it and you won't be able to get the original size back!! So it must be done on a duplicate ****

So first, make duplicates of all your master retouched files that are most likely TIFFS if they have layers. If you have them all in a folder, go to FILE > SCRIPTS > IMAGE PROCESSOR. Make them all JPGS in a new folder (do not reduce file size). Should look like this (it will create a new folder of duplicates):

Then....

Save this folder of duplicates to web size by going to FILE > SAVE FOR WEB. This automatically makes the new images 72dpi.
Be sure to save as JPEGs that are approx 600px wide:

Batch Save a Whole Folder Web Size by writing an ACTION:

If you want to save a whole folder of images at web size, you can write an action:
1.) Open an image
2.) WINDOW > ACTIONS to make your actions tab visible.
3.) Make a new action by clicking the "new action" icon at the bottom (looks like a page with the corner folded). Name it, and then RECORDING starts when red light is on!
4.) First thing to record:  IMAGE > IMAGE SIZE. Change "pixel dimensions" width to 600 px. (Don't change resolution or document size. Leave all boxes checked at the bottom. Have "Bicubic Automatic" selected)

5.) Now go to FILE > SAVE FOR WEB. Be sure to have optimized checked and to save as a "high" 60 quality JPEG, Optimized checked. At the bottom choose Bicubic Sharper (this is best for downsizing images). ** You don't need to change image size- it should already be set to 600px wide.

6.) Click "Save" and have it go to a folder you've called "web size images". (Don't rename images, as it can throw off the action. You can rename later in Bridge via TOOLS > BATCH RENAME). Close the image. Don't Save.

7.) Stop your action by hitting the square "stop" button at the bottom of the actions palette.

8.) This has now saved a duplicate of the image as web size! You can now go to FILE > AUTOMATE > BATCH to run that action on a whole folder of images.

Each resulting image should be 600px wide at 72 dpi and ready to email or publish online (to check, go to IMAGE > IMAGE SIZE):

*Sometimes you may notice that once your images appear online they look a little desaturated. If so, you can always go back and boost colors in Photoshop with an S Curve or by adding a little saturation with an adjustment layer, and then re-publishing it online.

*****

Embedding Copyright, Naming Files & Watermarking:

File naming: Using Bridge, you can rename all your files to be consistent and have your name in them, for example, gleeson_web_01.jpg, gleeson_web_02.jpg, gleeson_web_03.jpg...
*I like to name my files with "web" or "Print" in the title so I know which size each JPG is and don't accidentally print a web size image. In Bridge TOOLS > BATCH RENAME (be sure to have the images you want to rename highlighted for it to work).

Copyright: In Bridge, you can create a new Metadata template with all your info in it. Go to TOOLS > CREATE METADATA TEMPLATE. Then in the future, you can apply this to any image you want by going to TOOL > REPLACE METADATA.

Watermarking: In Bridge via the Output Tab, you can make a PDF that has watermarked images either with text or a logo. To watermark individual images you can use the Type Tool in Photoshop and write "Photo by ____" on a new layer, then change the opacity of that layer to be slightly transparent.



Creating an Online Portfolio:

If you don't have a website, you may think about trying this free online portfolio service called Carbon Made: http://carbonmade.com. Here's an examples of a portfolios by a former students of mine: http://hanspurwa.carbonmade.com/   http://dianabphoto.carbonmade.com

Another option that connects to Flickr is http://pullfolio.com

I use Photo Biz, photobiz.com, for my website www.eringleeson.com. It's a drag and drop template for people like me who don't know HTML and web design. Super user friendly, and is about $15/month.

Some free blog formats that are available are Blogger (via gmail), Wordpress (highly customizable templates), Tumblr (built in social media). Each of these offer templates you can buy.

For example, my website/blog The Forest Feast is a Tumblr blog. Although my template is not as customizable as a Wordpress template might be, I wanted to built in social media aspect to attract followers and drive traffic. I bought a $75 template from Pixel Union, and because I wanted something more memorable than forestfeast.tumblr.com, I went to Go Daddy and bought the domain name www.theforestfeast.com and had the 2 connected, for approx $15/year.

Dodge/Burn with Curves

You can use a Curves adjustment layer to brighten (dodge) or darken (burn) selective areas of an image.

For example, in the image below, I added one Dodge layer to brighten select areas. The result is an image that looks more dynamic and less flat:

In your adjustments palette, choose the Curves icon. Drag from the middle up for brightening, or down for darkening:

This automatically makes a mask for you. Invert the mask (command i) and then paint with a WHITE SOFT BRUSH on the mask, just on the areas where you want to see the change.

Remember, on a mask: White reveals, Black conceals. Above, I have painted with white JUST where I want the change to show through.

Class Outline April 28th (week 4)

Shooting Demo: Shooting with Off Camera Flash

• Use Commander mode if your camera does that or use a cord from your hotshoe
• Afforadable lighting kits with umbrellas are available at B&H: bhphotovideo.com

Portrait Retouching Cont’d

• Skin Softening: make a duplicate of your retouching layer and call it “softening”. FILTER > BLUR > GAUSSIAN BLUR. Choose a radius of about “1”. Make a Mask of that layer by hitting the “layer mask” icon at the bottom of the layers palette (3rd from left). Invert mask (command i). Paint with a soft white brush wherever you want softness to appear. Decrease layer opacity to minimize overall effect.
• Sharpening: Click the layer on the top of the stack. All at one time press “Command Shift Option E” on a mac. This creates a new merged layer encompassing everything below it. Name this layer “sharpening. Go to  FILTER > SHARPEN > SMART SHARPEN. The numbers you choose will depend on how big your image is, but try these numbers: (Amount: 100 to 200) (Radius 1 to 2) (Reduce Noise 10-20). When done, hit OK. Make and invert a mask (see above) and paint with a soft white brush just over areas you want sharp (like the eyes/lips)

Adjustment Layers

• Black & White conversion
• Enhancing one color (via Selective Color or Saturation)
• Curves (S-Curve)
• Levels (Bring “carrots” close to histogram on either end)

Masking for Composites

Double Processing a RAW file for exposure

Printing: If you'd like to make some prints for our last class meeting on May 12th, you may think about ordering them in the next week or so. Bay Photo usually has a quick turnaround.

Bay Photo www.bayphoto.com

Adorama www.adoramapix.com

Crop Tool: W x H x Resolution

• this can be good when preparing to print, say, and 8x10 or 5x7 image. Most photos coming off our cameras are not exactly those sizes. Better to be in control of the crop than let the lab decide what areas to crop. Save as a duplicate JPG before printing.

Homework: Email me “problem” images, Think about Printing for week 6, take a night photo (using a long exposure and a tripod outdoors).

Printing Suggestions

If you'd like to make some prints to share with the class for our last meeting on May 12th, you may think about ordering in the next week. Here are some tips:

General Retouching Checklist (before you print):
 -Be sure you are working from your "Master" image (the one you've retouched) that is saved as a TIFF with layers.
-Does your image look OK overall in terms of color? The best way to fix a color cast is with the color temperature slider in Camera Raw initially, but it can also be done later via the "color balance" adjustment layer. You can add a warming or cooling filter via the "photo filter" adjustment layer.
-Did you remove spots or dust using patch, healing, or stamp?
-Did you remove any unwanted objects by circling them with a lasso on a background copy layer and then filling with content aware?
-Did you add an "S-Curve" adjustment layer to slightly increase color and contrast?
-Do you need to selectively sharpen any areas? (see the previous post)
-If it's a landscape or architecture shot, do you need to straighten out any lines (lens correction)? This can be done on a background copy layer via EDIT > TRANSFORM > WARP
-Do you need to increase just one range of colors (like just the reddish hues in a flower, or just the bluish tones in the sky?). Adjustment layer "selective color" or "color balance" work well for this.
-Would you like to increase overall vibrance of colors with the Vibrance adjustment layer?

Color Management:
In Photoshop go to EDIT > COLOR SETTINGS to make sure that you have sRGB selected for your RGB working space.

 *More advanced Photoshop users who have a fancy inkjet printer at home with their calibrated monitor may choose to use Adobe RGB because it has a larger color gamut than sRGB. ProPhoto has the largest gamut of all, and includes colors that may exist in the future! This is for more advanced photographers working in 16bit.

*CMYK is only for commercial offset printing and doesn't generally apply to photographic printing we are likely to use. If you are doing work for a magazine or book and working directly with the printer, they will give you CMYK instructions specific to whatever printer they are using. As photographer, we are really just concerned with RGB settings.

Calibration:
To ensure that the images look as close as possible to your screen when they print, it's best to make sure your computer monitor is calibrated.  The ColorMunki Display (approx $175) allows you to write a custom color profile for your specific monitor. Professionals (and printing labs) often re-calibrate every week or month.

Other things to think about: your ambient light in the room, the brightness you have your monitor set to, and the color your walls are painted.


Print-Ready Checklist:
For the best results,  start with your hi-res retouched TIFF (that was shot RAW). Or the JPG that you saved from the RAW file. View Image on medium monitor brightness.

1.) Output Sharpening: It's good to give your image a bit of overall additional sharpening before printing (even if you've already done some selective sharpening on eyes, etc..)
On a merged layer on top of the stack (Select > All, Edit > Copy > Merged,  Edit > Paste)
go to FILTER > SHARPEN > SMART SHARPEN. Depending on your file, you will likely want an amount of 100 to 200, and a radius of 1-3. But use your own judgement- you want it to be just slightly sharper overall when making a print, because the printing process often blurs the image just a touch. Select "Lens Blur" from the remove menu:

 

 *Smart Sharpen is an alternative to Highpass sharpening which we did last week.

2.) Is your image 300dpi? (IMAGE > IMAGE SIZE). Be sure that this image wasn't formally web size (you cannot make a small image big again to print- it's stretches it and looks bad). Be sure this image came from a hi-res JPG or RAW file.

IMAGE > IMAGE SIZE: Your document size should match the dimensions (in inches) of your paper size for the print. If your image cannot be exactly the size of the paper offered. For example, most images coming off a DSLR would need to be cropped to become 8x10". So you can crop it, or add white borders.

*You can make the image slightly smaller than your paper size, then add borders evenly by going to IMAGE > CANVAS SIZE. Make sure you add white borders and keep your image centered.

*Another way to do it is to go to FILE > NEW. Make it the size of your paper. Then copy and paste your picture into this new document. EDIT > FREE TRANSFORM (while holding down shift and pulling from the corner) to make your image fit the "paper". This way you can control the white borders and not let the printing website arbitrarily do it for you (or accidentally crop your image!).


 3.) Save your layered TIFF or Raw file as Hi-Res JPG... then print from this Hi-Res JPG. If you have been retouching a layered TIFF, make sure you go to FILE > SAVE AS and save as a "quality 12" JPG before printing. This will make a duplicate flattened version of your file that's ready to print.

4.) ICC Color Profile: Most commercial printing services will give the best results when you leave your image in the "sRGB" color space. If your camera and Photshop are set to this, your image will probably already be sRGB. To double check, go to EDIT> CONVERT TO PROFILE. If the Source space says "sRGB...." you can just hit cancel- you're good to go.

Each paper/printer has it's own profiles. If you're using an Epson printer and paper, download the Epson profiles. To play it safe, it's best to use the same manufacturer's printer and paper. There's also the option to write your own profiles if you have a calibrator like the ColorMunki.

When downloading ICC profiles, on a PC you will need to put them in this folder to be able to apply them (EDIT > CONVERT TO PROFILE) in Photoshop:
Computer > Win (C:) > Windows > System32 > spool > drivers > color
On a Mac:
Library > ColorSync > Profiles

 A Note On Paper:
Think about the type of paper that would best suit your image. Is the subject matter better suited to something highgloss and shiny (like a shot of a race car?) or a more matte art paper (perhaps a portrait with a vintage filter applied).
Does your image have a lot of dark areas with detail? If so, you might want to choose Lustre or glossy.
*Glossy Paper shows more detail in shadows
*Matte paper is more absorbent of pigment and shows less detail in shadow areas

Print Lab Suggestions:
I suggest you avoid places like CVS and Kinkos when making digital prints and enlargements. The color quality you can get for a similar price from the places below is significant.

Adorama (based in NYC)
http://www.adoramapix.com/app/products/prints
Upload online on their website and prints are mailed to you. Fairly quick turnaround and affordable.
Color Profile: sRGB delivers fairly good results, but downloading their ICC profiles for specific paper types can produce even better results. Here's a tutorial on downloading and applying their ICC profiles. *Be sure not to check the box that lets Adorama make auto color corrections- this overrides the ICC profile.

Bay Photo (based in Santa Cruz)
http://www.bayphoto.com/bayweb/pro_standardsizes.htm
They have a wider variety of printing surfaces (including canvas) and a lot of mounting options. You have to download their ROES application to your computer to be able to order from them which is a small downside, but offers many additional options.
I suggest downloading the Economy Version of Bay ROES because it's for people (like you!) who know how to do your own color correction. 

For Photo Books:
Both Bay Photo and Adorama make books that are good quality, with the option to have the pages actual photo paper.

Blurb is more economical, and colors generally come out good, although the pages are not made from Photo Paper (they are a bit thinner). This service is perhaps more equivalent to a book you might make on Shutterfly, but the color quality is better, and there are more sizes and layout options when you download their application to your computer.
www.blurb.com





    

Night Photography: HW Due May 5

Suggested Homework Due May 5th: Shoot a series of images outdoors at night. Here are some past student assignment examples: Below is a selection of images shot by students for the Night Landscape assignment.  Some fun things to try:

• Try using a High ISO (as high as your camera will go) and no tripod (remember to keep your shutterspeed at 60 or aboveso it's not blurry). This will create a lot of graininess.
• Try using a tripod and a lower ISO (like 200 or 400), but a very long exposure (perhaps a couple seconds).
• Try having some motion in the shot for a long exposure (like this flashlight motion around the tree, below)
• Try a long exposure combined with a flash (perhaps having the flash light up a person in the dark while the long exposure shows detail in the dark background). Try having the person run through the frame and the flash will "freeze" them.

Long exposure shows motion. Photo by Joel Stuckey

These 2 photos by Gary Prideaux perfectly illustrate the difference between a long exposure night shot and a high ISO night shot. A high ISO often produces graininess, but doesn't require a tripod:

Short Exposure, High ISO- grainy! Photo by Gary Prideaux

Long Exposure, low ISO, more clarity. Photo by Gary Prideaux

This long exposure shot by Mira Zaslove shows some motion on the water,
but the architecture is crisp since she used a tripod.

Here are a couple fun photos by Michelle Nguyen in our class using a long exposure, tripod and a flashlight: