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Category : Northumberland Photography Club

Accepted at Annual Juried Show – Arts Council Northumberland – Victoria Hall

My piece is entitled “Webs in the Mist” was accepted into the 2014 juried show at Victoria Hall – Cobourg ON.

Algonquin-004-30105-30114 V2.1 Pano

It was quite an honour – I was told there were over 400 entries.

The shots were photographed in Oct 2013 at an Algonquin NPC (photo club) trip.  Thanks to Allan Short for organizing this, I don’t think I would have been motivated to get out shooting on such a cold fall weekend otherwise.

The photograph is a ‘pano’ of about 6 shots printed on a Baryta paper 15″ x 48″  and mounted on a sheet of aluminum. My thanks to Warren McCarthy for taking these shots at the ACN:

Juried Northumberland gallery 14.02.08 (5) Juried Northumberland gallery 14.02.08 (27) Juried Northumberland gallery 14.02.08 (28) Juried Northumberland gallery 14.02.08 (35) Juried Northumberland gallery 14.02.08 (36) Juried Northumberland gallery 14.02.08 (46)

 

 

Northumberland Photography Club – Article 3, January 2011

This is the third and final article of the series, and deals with Output (see links below for previous articles).  To recap the steps as described so far: images would be catalogued, noise reduced and some sharping would be performed to eliminate issues inherent with digital photography.  Any artistic editing should also be completed (ideally on a colour balanced monitor) and the image would then be ready for output, usually for display on a web site or for print.  The details in this article apply to Photoshop / Lightroom, however the same principles apply to all tools.

When an image is initially processed, output details are often not known or change over time.   You may first put an image on a web site, then email it or produce a book / greeting card or print.  Since each output has its own technical needs, save the image after final artistic editing, and then create a new file for each output (if using Photoshop, flatten the image when saving these new files or use a smart object). Saving a new file allows you to go back to the original image (with all of its layers intact), edit and make adjustments later if required.

Output Workflow

Photoshop:

  1. Flatten layers and save the file – include intended use in the file name such as:
    xxxx-2222-Print24x36.tif
  2. Resample the image at a new resolution and output size.
  3. Sharpen at 100% view of the new output size
  4. Final Output – Print or web

Lightroom:

  1. Using the Print Module, apply sharpening settings.  The techniques in this article apply to Lightroom with specific settings as noted.
  2. Web output can be best performed with Export dialogue.
  3. Final Output – Print or web

Printing

Printing softens an image, because the image blurs as the ink soaks into the paper, and this blurring varies with the type of ink/paper used.  To compensate for this blurring, sharpening is performed once again – yes I know we already sharpen it once, but that was to fix the issues with digital capture.  Now we want to handle blurring caused by inkjet printing and make adjustments based on how far the viewer may be when viewing the image.  Lets look at this second sharpening step in more detail.

Sharping is nothing more than an illusion. Software can’t make an image ‘in focus’.  All it can do is better define the contrast between light and dark edges to trick the eye into perceiving “sharpness”.

Note the sharping effect of the two bars at in the diagram below (bars have a dark top and light beige bottom).

Sharpening Diagram

Bar 1 is unsharpened. Bar 2 has slightly exaggerated sharpening for demonstration purposes. Software tools were used to sharpen bar 2.  Where there are high contrast edges (dark near light), the top dark portion of bar 2 has a small white halo blending into the beige (light) background.  There is also a black halo in the dark part of the bar. It’s more visible as the bar becomes lighter, about ? down from the top. To view this diagram better, see note at the end of this article for a high resolution online version of this image.

As the contrast between the bar and its background is reduced, so is the sharping.  Where there is no contrast (in the middle of the diagram), there is no sharpening (no black or white halos)

The reverse affect also occurs at the bottom of the diagram.   As you sit farther away from Bar 2, it should appear sharper than Bar 1.  Since the diagram is over sharpened for demonstration, bar 2 simply looks weird on the screen.  Therefore, the degree of sharpening varies based on the general conditions under which the image is viewed.  Distance plays a major factor in determining how much sharpening to apply. Use the detailed diagram and view it from a distance to better see the sharpening effect.

So, how does all this effect printing?   As the image is enlarged, so too must be the sharpening effect (the size of the halos).  To do this, first the image should be sharpened so that it looks good.  Then, if the viewer will be more than 5 feet from the print, the sharpening should be exaggerated by about 50%.  A book (typically viewed closer than 5 feet, would be sharpened with fine detail (small halos) while a large 24” x 36” print needs larger halos.  The large print will need those halos exaggerated, otherwise they will be too small for the viewer to see and the print will not appear sharp.  Also be aware that portraits are not sharpened as much and have different ‘artistic’ sharpening techniques.

(Mea culpa – in Article 2, I neglected to mentioned that noise reduction must be performed prior to sharpening.  Otherwise, you are sharpening (accentuating) the noise. Adobe Camera Raw, Lightroom, etc. will automatically apply these settings in the proper order).

Photoshop uses the following terms for most of its filters.  (Lightroom specifics also noted).

  • Amount: determines the amount of adjustment based on the level of contrast (dark vs bright) near an edge before sharpening is to be applied by the software. (Note: Lightroom refers to this setting in the Print Module as: Print Sharpening: low, medium, high.)
    • In the above example there is low contrast in the middle of the diagram (between the edge of the bar and its background), therefore less sharpening is applied there.  Increasing the Amount, increases the extent of sharpening applied within the image. In the above example, selecting a higher ‘amount’ will extend the sharpening towards the middle of the diagram.
  • Radius: determines thickness of the halos and is typically measured in pixels.  For a high resolution image, this value must be larger since the pixels are more densely packed. This is also the setting that must be increased if the viewer will be further away from the image, in order for the haloes to be large enough to have a sharping effect. (Note: Lightroom refers to this setting in the Print Module as: Media Type: Glossy = low Radius, Matte = High Radius.)

Advanced Photoshop: View the image at 100%.  If you use Photoshop, use Filter> Smart Sharpen and set the Amount and Radius. Start with high Amount (500%), then set the Radius starting low at 1.2 pixels and expand up to about 5, then back off the Amount to about 100% until the image looks sharp. Experiment as every image can be different.

Web Output

For any image to be viewed on a screen (email, web), save the image as a JPEG file, image quality of ideally no less than about 70, If prompted, use the Adobe RGB colour space (this is the default web colour space all modern browsers use). Sharpen for Screen.

When saving for Web, Export the image using the Library Module or use a Publish Services preset.

Colour Management: In previous articles I mentioned the camera should be set to Adobe RGB which has a greater colour range than sRGB.  After import, Adobe users should preserve colour by using the ProPhoto RGB colour space (at 16 bit if your printer supports it).
For printing, the colour space will then be converted by a ICC colour profile for the specific printer and paper type (Remember different papers absorb ink differently).  Each paper manufacturer should therefore have a ICC colour profile for your paper and printer. When soft proofing (viewing on screen) or printing, ensure the ICC colour profile is used. All software tools must use a ICC profile.

I hope these articles have been of some use and at least get you thinking about managing the workflow and technical issues in your digital images.   Don’t forget to get a good backup strategy and have fun!

Links:

Article one dealt with Image capture and file management: http://www.jeffgardner.ca/NPC/Article1.pdf while article two dealt with basic editing for image quality / noise reduction: http://www.jeffgardner.ca/NPC/Article2.pdf. For a PDF of this article, please see: www.jeffgardner.ca/NPC/Article3.pdf

For high resolution image of the sharpening diagram: www.jeffgardner.ca/NPC/SharpeningHighRes.jpg

Northumberland Photography Club Article 1 – November 2010

I was asked to prepare a set of articles for the Northumberland Photography Club – ON.   I entitled the series:

Save, Find, Edit, Output

These articles will discuss how to organize files so that you can find them again, deal with backup and recovery so images are not forever lost, basic editing workflow and finally preparing for output,  including colour management.

Let’s start with the first step: saving those image files.  When doing so, there really is no ‘best way’ but there are general principles that are tried-and-true.

Guiding principles to Image Management

The following principles for image management are really a ‘best practice’ for most file formats, and this includes data such as Word documents. The basic principles are defined below and we will dive into the details in the future articles:

  1. Capture images using the best format your camera is capable of recording.  Advanced photographers should use ‘camera raw‘ format since that format retains more detail, otherwise select the highest JPEG format available.  Also select the best colour space ‘Adobe RGB’ if it is available on your camera since it produces better prints.
  2. File images into one location such as “Pictures” or what ever folder you prefer to call it.  Don’t spread files all over your hard disk.  Group files into subfolders so that they can be more easily found later.
  3. Name images and folders using a consistent file naming convention. Include the Subject in the file name.  Subjects may also include date, location, person, event etc.  This allows you to more easily find files later.  For image files, include the image number from the camera as part of the file name, this will provide a basis to group files later which will be required as we discuss further steps in your workflow.  Add the Date to the filename if desired (EXIF data imbedded into the file already contains the date however) so you may not require that as part of the filename.
  4. Backup all images to another storage device.  This manages hardware failures.  Typically this backup is located somewhere on your premises and is not that expensive to maintain or difficult to perform.
  5. Test therestore’ process every now and then. Sometimes the restore does not work, thus you really don’t have a viable backup.
  6. Protect Critical Files in a separate geographic location. Protect those key files from loss due to the following threats: hardware or software failure, theft, disasters (such as fire/flood etc.) and human error.  Your backup and restore strategy need to consider these risks types and how tolerant you are to loss verses the cost of mitigating those risks.  We will discuss the details later but Critical files (such as those ‘keeper’ images and other key documents) should exist in a separate geographic location.   This special backup deals with the disasters mentioned above and it’s a different backup form that referred to in item 3.  You will need to determine if you really are willing to ‘chance it’ or want the security, effort and cost of having yet another backup.
  7. Use a consistent workflow when processing image files.  It sometimes is necessary to have different versions of the same image, one ‘original’, one for web display (reduced resolution) and another for printing;  using a workflow helps to organize the process providing a means of managing the related files.   This is a large subject that will be dealt with in subsequent articles.
  8. Avoid overlapping software tools. Multiple tools will create too many catalogues, making it more difficult to find and manage images.    For example, don’t use more than one of the following tools: Aperture, Lightroom, iPhoto or Adobe Bridge to manage your catalogue of images.  When choosing a tool, consider your longer term needs and allow room for growth. Pick one tool and stick with it.
  9. Avoid saving to multiple output locations.  Don’t export files to more than one photo site: Picasa, MobileMe, Flickr, Facebook, etc.  Pick one and stick to it; it’s easier to manage and your many dedicated followers will be able to more easily find your output.

Following the above principles takes time, so don’t get discouraged if you don’t succeed right away.  Chip away at it, and eventually it will all get organized.

For details on the first 6 steps please see: www.jeffgardner.ca/NPC/Article1.pdf