Thursday, 29 November 2012

PHOTOSHOP WORKSHOP 1

During this session Simon showed us how to manipulate a photo with a constructive approach, opposed to a deconstructive transformation, which ruins photos and settings adjusted can not be saved.

Set-Up:

It's important to always select the right size for new document, as well as the correct colour settings. This will depend of the output of your work. Photoshop works with bitmap images/graphics (pixels) not vectors like illustrator, so the image being worked with can not be distorted. Therefore the output must be set in place before hand, with correct dimensions and colour settings applied, as the image will distort when scaled. Never increase the size of a bitmap image.


To create a new file in Photoshop, you simply click on the File button in the top left hand corner of the programme. Then click on New.. and the following options will appear. 


There are many options such as choosing either Print based media and Screen based media, as shown above on the drop down box "presets". The tick next to "Clipboard" in this case that this is the default option for a blank canvas. 


From here you can chose the size. Depending on whether you're designing for web or print, different settings are automatically put in place. Sizes for web or screen based media have a set resolution of 72 (pixels/inch). The higher the quality of the image, the more pixels will be shown. 

48 Sheet: Billboard
12 Sheet: Advertisement on a bus
(large sizes are at s larger resolution to maintain print quality)

Screen work is based on RGB, as the colours seen are made of light.
Print work is based on CMYK, as the image is made of ink and inked plates, opposed to light.

Printers Profile: How printer translates from screen. What we see on screen is RGB, it isn't possible to see CMYK. 

However, when working on something, initially work in RGB so they can be used multi purposely. 

Image Editing:

Digital Cameras capture images in RGB (light based). When we print an image in RGB the image will look duller and not as vivid and crisp.

To see what a RGB image looks like when printed at CMYK -

Image > Mode > CMYK Mode

However this can be destructive as can be seen below: 





You can go back to your previous image as seen at the top by going backwards on your history. Which is next to the colour chart on the top right hand side, as can be seen in the above image. 


To test CMYK colours of an image, and to see which can be seen/printed:

View > Proof Set Up (Working CMYK)
Proof colours CMD+Y when proof set up is complete.


Sometimes, you may have a "gamut warning" which is when a complete colour set isn't all together, and the colour needs to be adjusted to match and print. It shows a visual representation of the colours which will not be printed.



Adding an adjustment layer of hue/saturation at this point means the image can be manipulated and then deleted or hidden if necessary, not destroying the original.

The hue/saturation colour options are next, creating  which have appeared now on the right, due to the gamut warning allow you to alter the colours in the image. Vibrant blues and greens are hard to match as shown below, but by reducing the saturation to -40 have replaced the colours. The hue option allows the colours to be changed of the entire image. Here I changed the hue to -50.


Saturation: -40
Hue: -50


Saturation: -25
Hue: +112

 Bringing back detail to dull images:
Original image below:


To add detail to an existing photograph which has high white levels due to the white sky. By using an adjustment layer, changing the levels of the shadows, mid-tones and highlights can enhance the image increasing vibrancy.


By using the 'quick selection tool' I can select an area of the image I would like to create a layer mask out of. The foreground filler must be back, and the paint brush tool should be sized accordingly and set to 0% hardness. Using this tool I can mask around areas which need to be masked. 

Once masked the lightness (white triangle) has been pushed towards the mid-tones and shadows to create a lighter, vibrant image as seen above.

The masked area is dynamic and applies adjustments to specific areas to allow other effects to be added also, without adding disruption.




By repeating the mark process also for the white gaps between the statue, the sky comes through fitting opposed to being blocked out.


Here the hue and saturation of the sky only has been changed to show a range of adjustments which can be altered if needed can be applied at the same time.

This was the same for the image below also, increasing the vibrancy and detailing of the mosaic work, and reducing the brightness of the light.

Original

Manipulated Version
Panoramas:

Creating Panoramas are really simple now thanks to Photoshop. Using their automated service I am now able to create seamless images.

File > Automate > Photomerge

You can then browse and add as many photos as you like. Here I used 3 skyline images to create a panorama view. 

Vignette - Dark, shadowed edges; to look vintage or similar to Instagram/Hipstamatic

Geometric Distortion Correction - Fixes any distortions, etc.




Completed Panorama.


I found this workshop very useful and I learnt many skills which I didn't know before, which I can use in my work to my advantage.

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