Art 82 - Summer 2009

A camera raw file contains unprocessed, uncompressed grayscale picture data from a digital camera’s image sensor, along with information about how the image was captured (metadata). Photoshop Camera Raw software interprets the camera raw file, using information about the camera and the image’s metadata to construct and process a color image.

Think of a camera raw file as your photo negative. You can reprocess the file at any time, achieving the results that you want by making adjustments for white balance, tonal range, contrast, color saturation, and sharpening. When you adjust a camera raw image, the original camera raw data is preserved. Adjustments are stored as metadata in an accompanying sidecar file, in a database, or in the file itself (in the case of DNG format).

When you shoot JPEG files with your camera, the camera automatically processes the JPEG to enhance and compress the image. You generally have little control over how this processing occurs. Shooting camera raw images with your camera gives you greater control than shooting JPEG images, because camera raw does not lock you into processing done by your camera. You can still edit JPEG and TIFF images in Camera Raw, but you will be editing pixels that were already processed by the camera. Camera raw files always contain the original, unprocessed pixels from the camera.

To shoot camera raw images, you need to set your camera to save files in its own camera raw file format.

Note: The Photoshop Raw format (.raw) is a file format for transferring images between applications and computer platforms. Don’t confuse Photoshop raw with camera raw file formats.

Digital cameras capture and store camera raw data with a linear tone response curve (gamma 1.0). Both film and the human eye have a nonlinear, logarithmic response to light (gamma greater than 2). An unprocessed camera raw image viewed as a grayscale image would seem very dark, because what appears twice as bright to the photosensor and computer seems less than twice as bright to the human eye.

About high dynamic range images

The dynamic range (ratio between dark and bright regions) in the visible world far exceeds the range of human vision and of images that are displayed on a monitor or printed. But whereas human eyes can adapt to very different brightness levels, most cameras and computer monitors can capture and reproduce only a fixed dynamic range. Photographers, motion picture artists, and others working with digital images must be selective about what’s important in a scene because they are working with a limited dynamic range.

High dynamic range (HDR) images open up a world of possibilities because they can represent the entire dynamic range of the visible world. Because all the luminance values in a real-world scene are represented proportionately and stored in an HDR image, adjusting the exposure of an HDR image is like adjusting the exposure when photographing a scene in the real world. This capability lets you create blurs and other real-world lighting effects that look realistic. Currently, HDR images are used mostly in motion pictures, special effects, 3D work, and some high-end photography.

PhotoMatix
http://hdrsoft.com/

Handouts
http://www.basearts.com/curriculum/PDF/CameraRaw/

ProPhoto RGB
romm_rgb.pdf
http://www.basearts.com/curriculum/HDR/

Digital Photography Schedule (subject to change)	Photography Resources http://www.basearts.com/curriculum/Res.Photo.htm and basearts resource menu \| http://www.basearts.com/curriculum/resources.html
Week 1.1		Syllabus Overview Expectations, Requirements, Objectives, Best Practices.	Assignment: Bring Camera to second class meeting with cables (usb/firewire), or card reader. Locate and begin reading Camera Manual - Cover to Cover. Set Camera to highest resolution / lowest compression. TURN OFF THE FLASH! Until further notice. Make 5-10 Digital Camera images between the first and the second class meeting - Bring these to share on the 2nd class meeting. - (1) Begin JOURNAL of questionable functions, settings, usage, portfolio ideas, reading notes etc... Email john@basearts.com with your current email address - include SRJC Digital Photo and your section number in the subject line.
Sites: Local Galleries and Suppliers Masters of Photography - Good starter site for Analogue Masters http://www.masters-of-photography.com/ Lomographic Society http://www.lomographics.com Camera Reviews http://dpreview.com http://www.keh.com
Week 1.2		Lecture: Digital Technology Transferring images from camera/media to system. Begin fundamentals of camera technology/exposure.	Lab: Establish Home Directories Work with camera connection / file transfer Assignment: Shooting in Low Light without a flash. - (7) Feel free to experiment, try to find the lowest level of light possible to render a readable image. Depending on what you may or may not know regarding ISO, experiment with this setting in your camera as well.
Reading: Local Galleries and Suppliers Moholy-Nagy - From Pigment to Light - 1936 Artists: Lazlo Moholy-Nagy Man Ray David Hockney Olivia Parker http://oliviaparker.com/newindex.php Bruce Conner David Hockney
Week 1.3		Lecture: Camera Operation Exposure basics Photoshop Introduction File Browser - Bridge File Types, Format	Lab First File Transfers Assignment: Bracketing Exposures 3 Subjects - 3-5 exposures for each with alternate exposure. - (3) 1st exposure according to meter reading. 2nd + .5 half step greater aperture/shutter selection or more exposure (over) 3rd + 1 whole step (full stop) greater aperture/shutter selection (over) 4th .5 half step smaller aperture/shutter selection or less exposure (under) 5th - 1 whole step smaller aperture/shutter selection or less exposure (under) ------------------------ Experiment with White Balance Bracketing.
Reading: Digital Camera Review - Technical Glossary http://www.dpreview.com/learn/?/Glossary/ http://www.dpreview.com/learn/?/Glossary/Camera_System/ Artists: Paul Strand Eugene Atget Eadweard Muybridge ----------- Sites:
Week 1.4		Lecture: Camera Operation Exposure basics Zone System Introduction: (Digital Application) Practical Fig 1 Fig 2 Zone System \| Wikipedia Entry: http://en.wikipedia.org/wiki/Zone_System	Lab: We will break at 6:30 to make the Chuck Close Lecture by Kenneth Baker at the Sonoma County Museum 425 7th Street ( directly across from the Macy's Parking lot of the 4th Street Mall.) Please try and attend.
Artists: Edward Weston Minor White Ansel Adams FRED ARCHER Robert Adams Uta Barth http://www.sieshoeke.com/artists/uta-barth Sites: The photographs in Intimate Nature: Ansel Adams and the Close View represent an under recognized and rarely examined aspect of Ansel Adams's half-century-long career: his study of the intimate details of nature through the close view of his camera. http://www.creativephotography.org/education/educatorsGuides/anselAdams/ Other Guides: http://www.creativephotography.org/education/educatorsGuides/
Best Practices - Beginning Camera Setup ------------ Camera Configuration - Highest Resolution - Lowest Compression - No Flash - Shooting Modes - (P), Av, Tv, M - ISO - lowest required (Auto, 50, 80, 100, 200, 400), 800, 1600, 3200 - White Balance - Auto Bracket exposures - .5-.7 over and under ------------- Testing and Experimentation with : - Half Step Shutter Lock Auto Exposure Auto Focus - Auto Bracketing - White Balance Bracketing - Metering/Exposure and Focus Modes - Multizone/Pattern, Center-weighted, Spot - Exposure Compensation ------------- Best Practices Camera - Format media card after every major upload (erase all, delete all, format) ------------- Work Flow Adobe Bridge / Camera Raw - preview and editing
Week 2.1		Lecture: Best Practices - Beginning Camera Setup Beginning Vocabulary Exposure Continues ...	Lab: Wikipedia Entry: http://en.wikipedia.org/wiki/Zone_System Depth of Field Calculator http://www.dofmaster.com/dofjs.html --- Assignment: --- Camera / Scanner Scanning Procedures - Flat Art Objects for Scanning - 3 Dimensional Objects as well as prints or flat art that you may want to digitize. - (2) Review Historical Photograms/Montage works: Photograms and Montage Samples Niko Robinson - Student Scanner work more scanner work - various
Discussion : Moholy-Nagy - From Pigment to Light - 1936 Readings: Ansel Adams - .pdf - 344KB - 3 pages Edward Weston - .pdf - 360KB - 3 pages (first left hand spread of each essay is last page of that essay) Artists: Henri Cartier-Bresson http://www.magnumphotos.com/Archive/C.aspx?VP=XSpecific_MAG.PhotographerDetail_VPage&l1=0&pid=2K7O3R14T1LX&nm=Henri%20Cartier%20%2D%20Bresson Hiroshi Sugimoto http://www.sugimotohiroshi.com/portfolio.html John Divola http://www.divola.com/ Sites: Depth of Field Calculator http://www.dofmaster.com/dofjs.html Zone System \| Wikipedia Entry: http://en.wikipedia.org/wiki/Zone_System
Week 2.2		Lecture: Camera: Best Practices Photoshop File Browser - Adobe Bridge Intro Contact Sheet	Assignment: - Equivalents: Depth of Field 3-5 Images which illustrate the side effects of aperture selections. -(4) Aperture: Fig. 1 Fig. 2 Lab: Shot Card Rev.2 for field experiments Shot Card for field experiments
Reading: Henri Cartier-Bresson - .PDF - 234KB Artists: Lauren Greenfield http://www.creativephotography.org/education/educatorsGuides/girlculturefacultyguide/ Henry Wessel http://www.renabranstengallery.com/wessel.html Stephen Shore http://www.masters-of-fine-art-photography.com/02/artphotogallery/photographers/stephen_shore_13.html Todd Hido Larry Sultan Sites:
Week 2.3	Lecture: Photoshop: Adjustment Layers Levels Adjustment Layers Histogram Size / Resize / Resolution PS Best Practice #1 - Duplicate the pixel based background layer as first step on opening a .jpeg. PS Best Practice #2 - All adjustments to adjustment layers - no pixel damage. Photoshop User Guide - 42.6Mb PDF		Assignment: - Equivalents: Motion / Blur 3-5 Images which illustrate the side effects of shutter speed / time value selections. - (5) Shutter / Time Values: Fig 1 --- Review : Bracketing Equivalents (Shutter and Aperture side effects)
Week 2.4	1st Critique- 10-15 images of your own work - looking toward portfolio subjects. If you haven't made any decisions it could be just images you have made since the beginning of the semester that you believe were good. ---		Assignment: Contact Sheets of Brackets/Equivalents Create a minimum of 3 contact sheets documenting bracketing exposure experiments. - (6)
Artists: John Baldessari Sophie Calle Nick Waplington --- Michael Light http://www.michaellight.net/
Week 3.1		Lecture: Photoshop: PS Best Practice #1 - Duplicate the pixel based background layer as first step on opening a .jpeg. Adjustment Layers Levels Adjustment Layers	Assignment: Critiques - 5 pnts. 5 Images - should represent beginnings of portfolio subjects either content or technique. Assignment:
Artists: William Klein Lorna Simpson Richard Prince David Hockney William Carlos Williams
Week 3.2		Photoshop: PS Best Practice #1 - Duplicate the pixel based background layer as first step on opening a .jpeg. PS Best Practice #2 - All adjustments to adjustment layers - no pixel damage. Histogram Size / Resize / Resolution Curves - Adjustment Layers Channel Mixer- Adjustment Layers
Artists: Diane Arbus Lorna Simpson Bernd and Hilla Becher Gregory Crewdson Reading: Robert Adams - Truth Robert Adams - Beauty Sites:
Week 3.3		Photoshop: Working with layers as masks Sharpening Unsharp Mask History Brush Compositing Extract Selections - Paths (Pen) Blending Options	Assignment: Subject explorations / Framing exercise. - (8) Shoot a minimum of 20 images of a single subject from every angle and a variety of compositional arrangements. explore position/ balance/ background/ etc...
Week 3.4		Lecture: Roxio Toast - CD and DVD Burning Photoshop: - Sharpening - LAB Color Mode/Luminance Sharpening Random Photoshop tools - ruler - skew/perspective Tranformations for barrel or pincushion distortion (not parallax) see ref: http://en.wikipedia.org/wiki/Image_distortion Text - Typography Text tools Vector graphics
Week 4.1 & .2		Lecture: Photoshop: Printing Process to Print Handout Processing a Digital Image.pdf (for print) Printer Profile File Names: profilenames Printing Demonstration - Epson R1800 / 1280 Printer : Size/Resize/Resolution (review) File Preparation Color Management Color Modes Papers Surface/Finish Texture Color Weight	Assignment: Printing 5 prints - 5 pnts. - 8x10 minimum - (9) Lab: Printing continues through to the end... Additional Printing Resources: http://www.basearts.com/curriculum/PDF/ - see contents for various PDFs Epson R1800 Printing Guide LAB: Critique ongoing- Current progress on portfolios - (5 pnts)
Artists: Harold Edgerton Richard Avedon Irving Penn Device/Paper Profiles - additional resources http://www.basearts.com/Res.Printing.htm Device/Paper Profiles - additional resources http://www.epson.com/profiles http://www.moabpaper.com/profiles http://www.ilfordpaper.com/profiles http://www.inkpresspaper.com/ profiles http://www.redrivercatalog.com/profiles/index.htm ----------------- Print Permanence - An Epson White Paper - http://www.epson.co.jp/e/technology/print_permanence_basics.htm Color Field Guide - how to install and apply Epson's ICC Profile Guide Red River Paper -How to Install and apply profiles.Epson(PC) Red River Color Profiles -How to Epson(MAC) Digital Art Supplies (San Diego based, print supply ) http://www.digitalartsupplies.com PS Print (LA based commercial printer) http://www.psprint.com/ Preparing files for print - Pagemaker, Illustrator http://www.psprint.com/helpcenter/preparingyourfiles/digitalcheck_pm.asp ---------------local printers santa rosa Northbay Photo Supply (Santa Rosa, based photo supply) http://www.photosupply.com location map http://www.photosupply.com/aboutusindex.htm Skylark Images http://www.skylarkimages.com/ The Lab http://www.thelabsantarosa.com Lenny Eiger http://www.eigerphoto.com/index_ep.php
Week 4.3 & 4.4	Printing Process to Print Handout Processing a Digital Image.pdf (for print) Printer Profile File Names: profilenames		Lab: Critique - Current progress on portfolios - (5 pnts) ------------ Assignment: 3-5 images of light - (10) - Pre-Visualization - sensitivity toward the lighting conditions(less focus on subject)

Week 5.1		Lab Camera RAW HDR - High Dynamic Range Imaging Resource Links for Camera Raw and HDR
Reading: Resource Links for Camera Raw and HDR About Camera Raw A camera raw file contains unprocessed, uncompressed grayscale picture data from a digital camera’s image sensor, along with information about how the image was captured (metadata). Photoshop Camera Raw software interprets the camera raw file, using information about the camera and the image’s metadata to construct and process a color image. Think of a camera raw file as your photo negative. You can reprocess the file at any time, achieving the results that you want by making adjustments for white balance, tonal range, contrast, color saturation, and sharpening. When you adjust a camera raw image, the original camera raw data is preserved. Adjustments are stored as metadata in an accompanying sidecar file, in a database, or in the file itself (in the case of DNG format). When you shoot JPEG files with your camera, the camera automatically processes the JPEG to enhance and compress the image. You generally have little control over how this processing occurs. Shooting camera raw images with your camera gives you greater control than shooting JPEG images, because camera raw does not lock you into processing done by your camera. You can still edit JPEG and TIFF images in Camera Raw, but you will be editing pixels that were already processed by the camera. Camera raw files always contain the original, unprocessed pixels from the camera. To shoot camera raw images, you need to set your camera to save files in its own camera raw file format. Note: The Photoshop Raw format (.raw) is a file format for transferring images between applications and computer platforms. Don’t confuse Photoshop raw with camera raw file formats. Digital cameras capture and store camera raw data with a linear tone response curve (gamma 1.0). Both film and the human eye have a nonlinear, logarithmic response to light (gamma greater than 2). An unprocessed camera raw image viewed as a grayscale image would seem very dark, because what appears twice as bright to the photosensor and computer seems less than twice as bright to the human eye. http://livedocs.adobe.com/en_US/Photoshop/10.0/help.html?content=WS2CB27D80-91BE-42ce-A0E7-2A908D6F2C8B.html About high dynamic range images The dynamic range (ratio between dark and bright regions) in the visible world far exceeds the range of human vision and of images that are displayed on a monitor or printed. But whereas human eyes can adapt to very different brightness levels, most cameras and computer monitors can capture and reproduce only a fixed dynamic range. Photographers, motion picture artists, and others working with digital images must be selective about what’s important in a scene because they are working with a limited dynamic range. High dynamic range (HDR) images open up a world of possibilities because they can represent the entire dynamic range of the visible world. Because all the luminance values in a real-world scene are represented proportionately and stored in an HDR image, adjusting the exposure of an HDR image is like adjusting the exposure when photographing a scene in the real world. This capability lets you create blurs and other real-world lighting effects that look realistic. Currently, HDR images are used mostly in motion pictures, special effects, 3D work, and some high-end photography. PhotoMatix http://hdrsoft.com/ Handouts http://www.basearts.com/curriculum/PDF/CameraRaw/ ProPhoto RGB romm_rgb.pdf http://www.basearts.com/curriculum/HDR/
Week 5.2 Tuesday	08.04.09	*Field Trip :* Graton, CA. Graton - meeting in central Graton - map to Graton: http://www.mapquest.com/maps/map.adp?searchtype=address&country=US&addtohistory=&searchtab=home&formtype=address&popflag=0&latitude=&longitude=&name=&phone=&level=&cat=&address=&city=Graton+&state=CA&zipcode= http://www.santarosa.edu/for_students/student_affairs/forms.shtml
Week 5.3		Lecture Lecture: Lens Selection Lens Selection: Link to external sites of interest regarding lens selection DPReview Lens Reviews http://www.dpreview.com/lensreviews/ DP Review Lens Widget: http://www.dpreview.com/lensreviews/ Angle of View: Fig 1 Lighting - Utilizing Ambient Light - Flash Composition -tone -balance -line -framing Automation / Scripting	Lab Critique - 5-10 Progress toward final subjects Review images of light. Printing continues ...
Reading: Susan Sontag - Plato's Cave Artists: Diane Arbus Jeff Wall Richard Barnes --- Matt Williams Collection of composition links: Rule of Thirds http://digital-photography-school.com/blog/rule-of-thirds/ More on the Rules of Photography http://macteens.com/magazine/features/fullstory/the_rules_of_photography/ Holding your Camera at an Angle http://digital-photography-school.com/blog/hold-your-camera-on-an-angle/ Rules for Landscape Photography http://digital-photography-school.com/blog/4-rules-of-composition-for-landscape-photography/ Diagonal Lines http://digital-photography-school.com/blog/using-diagonal-lines-in-photography/ Converging Lines http://digital-photography-school.com/blog/converging-lines/ Foreground http://digital-photography-school.com/blog/pay-attention-to-foregrounds/ Framing http://digital-photography-school.com/blog/framing-your-shots-photography-composition-technique/ http://digital-photography-school.com/blog/5-elements-of-composition-in-photography/ Assorted: Rule of Thirds http://en.wikipedia.org/wiki/Rule_of_thirds http://en.wikipedia.org/wiki/Image:Rule_of_thirds_1845_George_Field_Chromatics.png Golden Mean http://en.wikipedia.org/wiki/Golden_ratio http://www.cambridgeincolour.com/tutorials.htm http://www.cambridgeincolour.com/tutorials/camera-lenses.htm http://www.cambridgeincolour.com/tutorials/hyperfocal-distance.htm
		Lecture: Internet Presence / Websites Batch and Automation Image Ready Optimization Legal / Copyright Issues Protecting your images Respecting the work of others Legal and Photorelease - Handout Photographers Rights - pdfs Photography - Model Release Examples	graton field trip ?
Reading: Photo Sharing http://www.webshots.com/ http://www.dpchallenge.com http://www.flickr.com/ http://www.slide.com http://www.kodakgallery.com/ http://www.snapfish.com/ http://www.shutterbook.com/home/ http://www.deviantart.com/ http://www.zoto.com/ www.smugmug.com Commercial Photographers - Online presence (sampling) http://www.svenwiederholt.com/ http://www.peterkoval.com/ http://www.nadavkander.com http://www.jockmcdonald.com/ http://www.milesaldridge.com/ http://www.marcleclef.com/ Artists : Mark America Jodi.org Lynn Hershman Leeson http://www.lynnhershman.com George LeGrady http://www.georgelegrady.com John Maeda http://www.maedastudio.com/ http://dbn.media.mit.edu/ http://www.maedastudio.com/indexold.html http://acg.media.mit.edu/people/maeda/ Ted Nelson http://www.iath.virginia.edu/elab/hfl0155.html http://xanadu.com/ http://ted.hyperland.com/ Lev Manovich http://www.manovich.net/bio_00.htm http://www.manovich.net/ http://en.wikipedia.org/wiki/Lev_Manovich Victoria Vesna http://www.bodiesinc.ucla.edu/ Timothy Druckrey http://users.rcn.com/druckrey/ http://users.rcn.com/druckrey/texts.html Additional Readings: Orphan Works An orphan work is a copyrighted work where it is difficult or impossible to contact the copyright holder. This situation can arise for many reasons. The author could have never been publicly known because the work was published anonymously or the work may have never been traditionally published at all. The identity of the author could have been once known but the information lost over time. Even if the author is known, it may not be possible to determine who inherited the copyright and presently owns it. Nearly any work where a reasonable effort to locate the current copyright owner fails can be considered orphaned. However the designation is often used loosely and in some jurisdictions there is no legal definition at all. http://en.wikipedia.org/wiki/Orphan_works http://www.copyright.gov/orphan/ -----------------
		Lab Text - Typography Text tools Vector graphics
Artists: Margaret Bourke-White Tina Modotti Immogen Cunningham Nan Goldin Sally Mann Sherry Levine Judy Dater Annie Liebovitz Graciela Iturbide

Week 5.4	Final Critique Presentations of selections from individual portfolios 10-20 images. = 10 pnts Final Exam is here --> TEST
Reading: Lomo Effect for Photoshop ive tried a few websites but this one seemed to give the closest effects to a real lomo camera. http://photoshoptutorials.ws/photoshop-tutorials/photo-effects/lomography.html from Anna Evey Walter Bejamin, "The Work of Art in the Age of Mechanical Reproduction", 1936 - Excerpt translanted by Harry Zohn