We're up and running!

Yes!  Open for business!

Assignment #4 - Exploring the Apply Image Feature (and True Love!)

Awww!  Texas Sunset and True Love!  What a "blend"!

Blending Images using the Apply Image Technique:

1.  Pick your two images, making sure they are the same size both in resolution and dimension  My images were not the same dimension so I had to place the image of Gerry and me on a new "board" that was the same dimension as the sunset photograph.

 2.  I erased the background Gerry and I were in so it would not interrupt the sunset image.

2.  Select your Target (main) image.

3.  Duplicate the background (Command J).
4.  Select Image from the tool bar then Apply Image (this command may be hidden so go to Show All Menu Items and click on that...)

VOILA!

Before starting to work with it, you need to understand these important rules about using this tool:

1. Both images that you will blend together must be open, and they must be of the same size (BOTH IN RESOLUTION AND IN ACTUAL MEASUREMENT.
2. The Add blend mode will lighten the resulting image. If the result is too light, you can set a negative offset value to darken the image.
3. The Subtract blend mode will darken the resulting image. It also has an Offset setting, and you can lighten the result by using a positive offset value.
4. Blending of images that use different color modes, such as RGB with LAB or grayscale, which is not possible with any other command.

Beauty is only ISO deep!

How to read your ISO:

When shooting in low light conditions (like the sculpture studio!), there is not much light available for your camera sensor.  A HIGH ISO number, such as ISO 3200, will increase the sensitivity of the sensor, multiplying the small amount of available light to give you a correctly exposed image.  The "side effect" is what's called "increased noise" on the image, which looks like a fine grain, reducing the overall image quality...most pronounced in the darker/shadow regions.

Present day "Girl with the Pearl Earring"...

You want to keep the ISO as low as possible...the lower the ISO, the less "noise" and the higher the quality of the image.  These are all approximate starting points:

Outside on a sunny day, select ISO 200 and see how it goes.  
If it gets cloudy, select an ISO somewhere in the range of 400-800.  
If you are indoors, consider an ISO of 1600 or above.

Understanding Aperture

Understanding Aperture

1. What is Exposure?

Exposure is basically the AMOUNT OF LIGHT (controlled by the aperture) that is captured over a SPECIFIC AMOUNT OF TIME (controlled by the shutter speed). Is that clear?

So your exposure is the process of recording light onto your digital sensor (or film). Don’t make it more complicated than that: light recorded somewhere (digital sensor or film). THE END. Easy Cheesy.

2. What is Aperture?

Your aperture, or your F-stop, controls (along with the shutter speed which we’ll discuss in the next post so just throw that out of your brain for now before you get confused) how much light hits your sensor.

A lens’s aperture (fstop) is basically a hole (and we’re getting as basic here as is humanly possible) that opens to let in more light and closes to let in less light. Similarly to the iris in your eye, but if that analogy doesn’t work for you feel free to throw it on out. The larger the “HOLE” or aperture (fstop), the more light will hit your sensor, the smaller the “HOLE” or aperture (fstop) the less light will hit your sensor, capiche?

Seriously, try not to over complicate it.

NOW: I’m going to sucker punch you here and I’ll just apologize in advance. A HIGH aperture number (fstop) = LESS light being recorded on your digital sensor (or film) while a LOW aperture number = MORE light being recorded on your digital sensor (or film). Yay to the genius who decided upon that little gem of a system! Seriously, I’d be game for toilet papering his house . . . you just let me know the time and place and I’m there.

The TRUE apertures are as follows (called fstops):

There are third “stops” in between (just think of it as where the “hole”, aperture, STOPS to let in a set amount of light), your camera may or may not have these.

The best way to find out will be to crack your manual or flip through the aperture dial on your camera and see which apertures show up. If you get numbers like: 2.8, 3.2, 3.5, 4.0, 4.5, 5.0, 5.6 then you’ve got third stops to work with. If on the other hand you’ve got 4.0, 5.6, 8, 11, 16. . . then you’ve got the true apertures and no option for 3rd stops.

NOTE: your lens may not have numbers as low as 2.8 or it may have an aperture number as low as 1.2. Your lens isn’t broken, it’s just got more or less capacity to let in more or less light. . . The general range of most lenses are highlighted in blue above.

Last word about aperture: it is your aperture (fstop) that controls the depth of field in a photo (don’t hyperventilate. . . see below).

3. What is Depth of Field?

Depth of field is basically the amount of an image that is in focus. An image with a very deep depth of field would be an image where everything is in focus, while an image with a very shallow depth of field would have a lot of “fall off” or BLUR with only one segment of the image in focus.

**QUIZ: Does the image above have a deep or a shallow depth of field??
ANSWER: Shallow, because only the boy is in focus and everything else is thrown out of focus.

STOP! Before we go any further, I want you to have a steady grasp of the way your aperture (fstop) functions. So I have a couple of assignments below for those who are desperate to learn about manual settings. . . or simply want a refresher.

FIRST: Memorize the full fstops. Just commit them to memory. The end. You can do it! Here they are again.

SECOND: For this assignment you will need 2 objects placed on a flat surface 1-3 feet apart outside or in a well lit room. Pop your camera over to Aperture Priority and experiment.

Aperture Priority (AP or AV) will allow you to play around with Aperture and how it affects depth of field without having to worry about shutter speed, because in AP/AV the camera automatically selects your shutter speed for you depending on the amount of light available.

Once you’re in AP/AV, set your lens on the LOWEST POSSIBLE APERTURE (fstop) probably somewhere between 2.8-4.0. Focus on the object closest to you and take a picture. NOW, “stop up” to the next FULL fstop. . . you just memorized them, so it should be easy. Skip over the third stops. . . or don’t. It’s up to you. So let’s pretend that I have a lens that has a maximum aperture of 4.0. I’d start by taking an image at 4.0. Then I’d take the same shot at 5.6, then at 8.0 then at 11 then at 16. . . see how this goes? You’ll notice a difference in the depth of field. That’s the goal of the assignment: to learn how aperture affects depth of field.

Don’t be dismayed if your images are slightly dark. I’ve noticed that for the most part when you shoot in AP/AV images tend to be slightly underexposed. . . .

Quick Capture Challenge

Your first QCC!

Choose a partner and find the following:

1.  Snake in the grass

2.  A hundred roses

3.  Puffy clouds

4.  True Love

5.  A blade of grass in an unusual place

6.  The perfect NDB uniform

7.  Breaking the rules

8.  Italy

9.  Magnolia tree in an interesting perspective

10. Bridge over troubled waters

Upload to a folder, label each image with what it is (snake, cloud, etc.), the images must be the correct size and format - 180 -280 dpi and not larger than 8 x 10".

Yes, I have prizes for the winners...

Farewell and Welcome!

Photography B rocks in the new photo studio!

What can I say?  I began the year in a new home - Notre Dame High School - and will end the year in another new home - the Photography Studio under construction!  I couldn't have done it without the support of all of my fantastic students and the new administration.  Some of the images these incredible students created are below.  I am very proud to be a part of the next phase of photography at Notre Dame.

Anya Knoth

Shelby Hartness

Nicole Bryant

Rory McGinty

Rae Lin

When am I supposed to use JPEG fine, JPEG normal, JPEG basic and NEF(RAW) (...and what the heck do they mean, anyway?!)

Camera File Formats:  By Anya Knoth

If you have been using your camera for a while, you may have noticed a menu option called image quality. 

The options for this feature are JPEG fine, JPEG normal, JPEG basic and NEF(RAW)

Whoever invented those phrases obviously was not thinking about the fact that they make little sense, but that’s irrelevant. Hopefully, this guide will teach you what each option is and why you would want to ever use it.

Most of you probably know about JPEG, which is the standard file format for photos and is what we are all used to dealing with. JPEG files are pre-compressed by the camera, which basically means it takes the original photo and makes it slightly smaller and less detailed. Pretty much, no one will ever notice that. Because the JPEG is compressed, it is not the completely original file. This means that whenever you edit it, it loses a little bit of data and the more it is manipulated the worse it looks. That is basically the main problem.

The options for JPEG are basic, normal and fine. Basically, basic is the smallest, normal is the middle and fine is the most detailed. I always shoot in JPEG fine because it doesn’t really matter but it will get me good quality and that way I don’t have to worry about blowing images up super large.

Now RAW. RAW is essentially the original file, the complete data from the camera’s sensor. This file format is super big- because it is uncompressed, it is usually about 4x a large as a JPEG is. Also, RAW isn’t really a photo because it can’t be opened by most software. In order to use RAW, you have to get special software like photoshop, bridge or other free options that will allow you to edit it and convert it. Basically the only good thing about this file format is the fact that it is super big. Also, when you edit it, it has a much wider range in that the file is a lot less likely to look really bad after editing it for a while, so it can be manipulated at much greater lengths.

Essentially, RAW is a much bigger pain in the ass to use, and isn’t that useful most of the time. However, there are times when it is appropriate to use RAW. But at least shoot in JPEG fine.