Wednesday, April 13, 2011
Monday, April 11, 2011
Professional Photography Program
Digital Lab 2
Assignment 5 Final Assignment (Yahoo!) Mini-Portfolio 25%
Purpose
To introduce students to the concept of sequential imagery, as opposed to individual “one-off” efforts. Secondly, to familiarize students with the technical demands of creating a portfolio of ink jet prints.
Students will produce a mini portfolio of five A3 Ink Jet Images. The portfolio
must be integrated. That is, there must be a common thread or theme throughout
the series. This common theme could be either stylistic or based on content.
technique and resulting style. Students must propose a theme for their portfolio
either in class or via email by April 18th.
Or the portfolio could pursue a common subject matter/content; architectural
interiors or a Photo-Journalistic examination of Skateboarding or Squeegee culture
in Montreal, for example.
The images should be consistent in size, aspect ratio, paper surface, colour or
B/W, printing style and presentation.
A reminder that image impact and aesthetic considerations count fully as much as
technical excellence, in marking the assignment.
Submit at the beginning of Class on May 9. No Late Assignments!!
Five A3 final Ink jet prints.
Print files should be sized to fit an A3 sheet at 240 DPI, PSD or TIFF.
For the purposes of this assignment students must print in-house. Home or externally made prints are not acceptable.
The prints must be placed in an appropriately sized manila envelope. The envelope should be identified with the teachers name, your name, the course name and the assignment number on the outside front surface. One assignment per envelope; envelope should not be sealed.
Marking: The project will be marked on technical competence; correct colour or proper distribution of tonal values, shadow detail, highlight detail, sharpness and impact of the sequencing. Professionalism in presentation will be taken into account as well.
Dawson College Professional Photography Program
Digital Lab 2
Assignment 5 Final Assignment (Yahoo!) Mini-Portfolio 25%
Purpose
To introduce students to the concept of sequential imagery, as opposed to individual “one-off” efforts. Secondly, to familiarize students with the technical demands of creating a portfolio of ink jet prints.
Students will produce a mini portfolio of five A3 Ink Jet Images. The portfolio
must be integrated. That is, there must be a common thread or theme throughout
the series. This common theme could be either stylistic or based on content.
technique and resulting style. Students must propose a theme for their portfolio
either in class or via email by April 18th.
Or the portfolio could pursue a common subject matter/content; architectural
interiors or a Photo-Journalistic examination of Skateboarding or Squeegee culture
in Montreal, for example.
The images should be consistent in size, aspect ratio, paper surface, colour or
B/W, printing style and presentation.
A reminder that image impact and aesthetic considerations count fully as much as
technical excellence, in marking the assignment.
Submit at the beginning of Class on May 9. No Late Assignments!!
Five A3 final Ink jet prints.
Print files should be sized to fit an A3 sheet at 240 DPI, PSD or TIFF.
For the purposes of this assignment students must print in-house. Home or externally made prints are not acceptable.
The prints must be placed in an appropriately sized manila envelope. The envelope should be identified with the teachers name, your name, the course name and the assignment number on the outside front surface. One assignment per envelope; envelope should not be sealed.
Marking: The project will be marked on technical competence; correct colour or proper distribution of tonal values, shadow detail, highlight detail, sharpness and impact of the sequencing. Professionalism in presentation will be taken into account as well.
Dawson College Professional Photography Program
Wednesday, April 6, 2011
Thursday, February 24, 2011
Professional Photography Program
DL 2 Laurel Breidon
Assignment 3
B/W Film Processed, Scanned and output A3 Ink Jet Print 25%
Due: Start of class, Thursday March 10. (Late assignments marked at 60 or 0%).
Purpose: To introduce students to B/W film, scanning technology and principals and
continue perfection of LR Editing and Printing skills.
Submit: Students will submit one A3 sized ink jet prints and one 36 frame roll of
properly exposed and developed negatives.
Method Expose and develop one roll ( 24 or 36 Exps.) of 35 mm film. (Or one roll, 12 exps.
120 film). Scan the resulting negatives. Output one high quality A3 ink jet print.
Please submit all test prints and print failures as well.
For the purposes of this assignment students must print in-house, at Dawson.
Place the print and negatives in an appropriately sized manila envelope. The envelope
should be identified with the teachers name, your name, the course name and the
assignment number on the outside front surface. One assignment per envelope.
The envelope should not be sealed. Please no padded envelopes
Grading: The images will be marked on technical competence; proper distribution of
tonal values, shadow detail, highlight detail, sharpness etc.
Please remember that the aesthetic content of the image is central to the assignment
and image impact will affect the final grade.
No boring pictures.
DL 2 Laurel Breidon
Assignment 3
B/W Film Processed, Scanned and output A3 Ink Jet Print 25%
Due: Start of class, Thursday March 10. (Late assignments marked at 60 or 0%).
Purpose: To introduce students to B/W film, scanning technology and principals and
continue perfection of LR Editing and Printing skills.
Submit: Students will submit one A3 sized ink jet prints and one 36 frame roll of
properly exposed and developed negatives.
Method Expose and develop one roll ( 24 or 36 Exps.) of 35 mm film. (Or one roll, 12 exps.
120 film). Scan the resulting negatives. Output one high quality A3 ink jet print.
Please submit all test prints and print failures as well.
For the purposes of this assignment students must print in-house, at Dawson.
Place the print and negatives in an appropriately sized manila envelope. The envelope
should be identified with the teachers name, your name, the course name and the
assignment number on the outside front surface. One assignment per envelope.
The envelope should not be sealed. Please no padded envelopes
Grading: The images will be marked on technical competence; proper distribution of
tonal values, shadow detail, highlight detail, sharpness etc.
Please remember that the aesthetic content of the image is central to the assignment
and image impact will affect the final grade.
No boring pictures.
Sunday, February 13, 2011
Soft Proofing in Lightroom-3/Photoshop
SoftProofing in Lightroom/PhotoShop
• Set Prefs in LR (Bit Depth, Colour Space, Resolution, File Format)
• Prophoto is the one because of increased gamut in Epson Ultrachrome
Inks
• Open File in PhotoShop (Command E)
• Duplicate Image >Image>Duplicate (as reference)
• Go to View>Proof Set-Up>Custom
• Find Appropriate Printer Profile
• Work through Dialog Box
• Preserve RGB Numbers (Off) What your file will look like if you print in
Color Workspace not Printing Profile.
• Black Point Compensation (On)
• Simulate Paper Color (On)
• Simulate Black Ink (On)
• Fix your file Image> saturation, curves etc,using copy as reference
• Back to Lightroom (Save) Look for file with Edit attached to title
• Print
• Set Prefs in LR (Bit Depth, Colour Space, Resolution, File Format)
• Prophoto is the one because of increased gamut in Epson Ultrachrome
Inks
• Open File in PhotoShop (Command E)
• Duplicate Image >Image>Duplicate (as reference)
• Go to View>Proof Set-Up>Custom
• Find Appropriate Printer Profile
• Work through Dialog Box
• Preserve RGB Numbers (Off) What your file will look like if you print in
Color Workspace not Printing Profile.
• Black Point Compensation (On)
• Simulate Paper Color (On)
• Simulate Black Ink (On)
• Fix your file Image> saturation, curves etc,using copy as reference
• Back to Lightroom (Save) Look for file with Edit attached to title
Sunday, February 6, 2011
CIE xyz and CIE LAB
Nearly all color management software today uses a device-independent space defined by the Commission International de l' éclairage (CIE) in 1931. This space aims to describe all colors visible to the human eye based upon the average response from a set of people with no vision problems (termed a "standard colorimetric ").The CIE space of visible color is expressed in several common forms: CIE xyz (1931), CIE LAB, and CIE L u'v' (1976). Each contains the same colors, however they differ in how they distribute color onto a two-dimensional space:
(All color spaces shown are 2D cross-sections at 50% Luminance)
CIE xyz is based on a direct graph of the signals from each of the three types of color sensors in the human eye. These are also referred to as the X, Y and Z tristimulus functions (that were created in 1931). However, this representation allocates too much area to the greens — confining most of the apparent color variation to a small area.
CIE L u'v' was created to correct for the CIE xyz distortion by distributing colors roughly proportional to their perceived color difference. A region that is twice as large in u'v' will therefore also appear to have twice the color diversity — making it far more useful for visualizing and comparing different color spaces.
CIE L*a*b* remaps the visible colors so that they extend equally on two axes — conveniently filling a square. Each axis in the LAB color space also represents an easily recognizable property of color, such as the red-green and blue-yellow shifts .These traits make LAB a useful color space for editing digital images, such as with Adobe Photoshop, Lightroom, etc.
(All color spaces shown are 2D cross-sections at 50% Luminance)
CIE xyz is based on a direct graph of the signals from each of the three types of color sensors in the human eye. These are also referred to as the X, Y and Z tristimulus functions (that were created in 1931). However, this representation allocates too much area to the greens — confining most of the apparent color variation to a small area.
CIE L u'v' was created to correct for the CIE xyz distortion by distributing colors roughly proportional to their perceived color difference. A region that is twice as large in u'v' will therefore also appear to have twice the color diversity — making it far more useful for visualizing and comparing different color spaces.
CIE L*a*b* remaps the visible colors so that they extend equally on two axes — conveniently filling a square. Each axis in the LAB color space also represents an easily recognizable property of color, such as the red-green and blue-yellow shifts .These traits make LAB a useful color space for editing digital images, such as with Adobe Photoshop, Lightroom, etc.
ICC
The International Color Consortium.
The ICC is a group which is made up of representatives from Adobe Apple HP and many others. This is why we hear the term ICC color profiles
It involves several key concepts color profiles, color spaces and the translation between color spaces.
The ICC is a group which is made up of representatives from Adobe Apple HP and many others. This is why we hear the term ICC color profiles
It involves several key concepts color profiles, color spaces and the translation between color spaces.
Perceptual and Relative Colormetric Intents
Perceptual and Relative Colorimetric Rendering Intents
Perceptual and relative colorimetric rendering are probably the most useful conversion types for digital photography. Each places a different priority on how they render colors within the gamut mismatch region. Relative Colorimetric maintains a near exact relationship between the in gamut colors, even if this clips out of gamut colors. In contrast perceptual rendering tries to also preserve some of the relationship between out of gamut colors, even if this results in inaccuracies for in gamut colors.
Perceptual maintains smooth color gradations throughout by compressing the entire tonal range, whereas relative colorimetric clips out of gamut colors.
Even though perceptual rendering compresses the entire gamut it does remap the central tones more precisely. The exact conversion depends on what the CMM is used for
Adobe ACE Microsoft ICM and Apple color sync are some of the most common
Absolute colorimetric Intent
Absolute is similar to relative colorimetric in that it preserves in gamut colors and clips those out of gamut, they differ in how each handles the white point, The white point is the location of the purest and lightest white in a color space. If we drew a line between the white point and the black point in a color space this would pass through the most neutral colors. The location of this lines changes between color spaces. Relative colorimetric skews the colors within the gamut so that the white point of one aligns with that of the other. While absolute colorimetric preserves colors exactly without regard to changing the white point. Absolute colorimetric preserves the white point while relative displaces the colors so that the old white point aligns with the new one. The exact preservation of colors may sound appealing, however relative colorimetric adjusts the white point for a reason. Without this adjustment absolute colorimetric results in unsightly color shifts and as such is rarely of interest to photographers.
The color shift results because the white point of the new color space usually needs to align with that of the light source or paper tint used. If one was printing to a color space for a paper with a bluish tint. Absolute colorimetric would ignore this tint change. Relative colorimetric would compensate to account for the fact that the whitest and lightest point has a tint of blue.
-Saturation rendering intent tries to preserve saturated colors, and is most useful when trying to retain color purity in computer graphics when converting into a larger color space. If the original RGB device contained pure (fully saturated) colors, then saturation intent ensures that those colors will remain saturated in the new color space — even if this causes the colors to become relatively more extreme.
Saturation intent is not desirable for photos because it does not attempt to maintain color realism. Maintaining color saturation may come at the expense of changes in hue and lightness, which is usually an unacceptable trade-off for photo reproduction. On the other hand, this is often acceptable for computer graphics such as pie charts.
Perceptual and relative colorimetric rendering are probably the most useful conversion types for digital photography. Each places a different priority on how they render colors within the gamut mismatch region. Relative Colorimetric maintains a near exact relationship between the in gamut colors, even if this clips out of gamut colors. In contrast perceptual rendering tries to also preserve some of the relationship between out of gamut colors, even if this results in inaccuracies for in gamut colors.
Perceptual maintains smooth color gradations throughout by compressing the entire tonal range, whereas relative colorimetric clips out of gamut colors.
Even though perceptual rendering compresses the entire gamut it does remap the central tones more precisely. The exact conversion depends on what the CMM is used for
Adobe ACE Microsoft ICM and Apple color sync are some of the most common
Absolute colorimetric Intent
Absolute is similar to relative colorimetric in that it preserves in gamut colors and clips those out of gamut, they differ in how each handles the white point, The white point is the location of the purest and lightest white in a color space. If we drew a line between the white point and the black point in a color space this would pass through the most neutral colors. The location of this lines changes between color spaces. Relative colorimetric skews the colors within the gamut so that the white point of one aligns with that of the other. While absolute colorimetric preserves colors exactly without regard to changing the white point. Absolute colorimetric preserves the white point while relative displaces the colors so that the old white point aligns with the new one. The exact preservation of colors may sound appealing, however relative colorimetric adjusts the white point for a reason. Without this adjustment absolute colorimetric results in unsightly color shifts and as such is rarely of interest to photographers.
The color shift results because the white point of the new color space usually needs to align with that of the light source or paper tint used. If one was printing to a color space for a paper with a bluish tint. Absolute colorimetric would ignore this tint change. Relative colorimetric would compensate to account for the fact that the whitest and lightest point has a tint of blue.
-Saturation rendering intent tries to preserve saturated colors, and is most useful when trying to retain color purity in computer graphics when converting into a larger color space. If the original RGB device contained pure (fully saturated) colors, then saturation intent ensures that those colors will remain saturated in the new color space — even if this causes the colors to become relatively more extreme.
Saturation intent is not desirable for photos because it does not attempt to maintain color realism. Maintaining color saturation may come at the expense of changes in hue and lightness, which is usually an unacceptable trade-off for photo reproduction. On the other hand, this is often acceptable for computer graphics such as pie charts.
Wednesday, February 2, 2011
Sunday, January 30, 2011
Color Spaces
We can see how there is much more color information available in the Prophoto RGB color space thatn in the smaller Abobe RGB or sRGB color spaces the red areas represent "out of gamut" colors in the AdobeRGB and sRGB examples
Color Space.
-This is just a way of referring to the collection of colors/shades that are described by a particular color profile. Put another way, it describes the set of all realizable color combinations. Color spaces are therefore useful tools for understanding the color compatibility between two different devices.
-A color space is a conceptual tool for understanding the color capabilities of a particular device or digital file. When trying to reproduce color on another device, color spaces can show you weather you will be able to retain shadow/highlight detail, color saturation and by how much it will be compromised
-A color space relates numbers to actual colors and is a three dimensional object which contains all realizable color combinations, each direction in a color space represents some aspect of color such as lightness, saturation or purity or hue, the wavelength that appears to be most dominant.
-Working spaces are used by image editing programs and file formats to constrain the range of colors to a standard palette. Two of the most commonly used working spaces in digital photography are Adobe RGB 1998 and sRGB IEC61966-2.1. sRGB is a color space proposed by HP and Microsoft becuse it approximates the color gamut of most common computer display devices. It has become the standardized color space for displaying images on the internet. sRGB’s color gamut encompasses 35% of the visible colors specified by the CIE
-Adobe RGB was designed by adobe to encompass most colors achievable on CMYK printers but using only RGB primary colors on a device such as your computer display. The Adobe RGB 1998 working space encompasses roughly 50% of the visible colors specified by CIE improving on sRGB primarily in the cyan-greens
Web Sites of Interest
http://tv.adobe.com/show/learn/lightroom-3/
http://www.luminous-landscape/tutorials
http://cambridgeincolour.com/tutorials
http://digitaltruth.com/devchartphp?doc=timetemp
http://www.luminous-landscape/tutorials
http://cambridgeincolour.com/tutorials
http://digitaltruth.com/devchartphp?doc=timetemp
Color Management
Color Management
references:www.cambridgeincolour.com -tutorials-colormanagement
(a series of 6 tutorials covering many aspects of color management)
www.lynda.com -colormanagement
What is color management?- Achieving consistency and predictability between multiple devices.
Input devices, such as cameras and scanners, working devices, such as computer monitors and output devices such as printers.
We have first our input devices, our cameras and scanners our display device, our computer monitors and our output devices namely our printers.
Our input and monitoring devices live mainly in the realm of the RGB color space Why?
RGB is a system based on light.
Our output devices are dependant on the CMYK color space. Why?
Because colors in a printer are dependant on inks and the colors of printer inks are Cyan, Magenta, Yellow and Black.
Color reproduction has a problem in that a given color number doesn’t always produce the same color in all devices
1) Every device gets a profile
Various methods are used to create device profiles that describe to all other devices what its characteristics are. Monitor profiles describe what colours are produced when RGB values are sent to the monitor. Printer profiles describe what colours are produced when RGB values are printed. Scanner profiles describe what RGB values are created when colours are scanned.
2) We work in device independent colour spaces We use an device independent colour space to insure that all users use and see the same colours on their various systems. The monitor profile is used to correct the information we see on the monitor so that images displayed in a common device independent colour space will all look the same. Device independent colour spaces have names like AdobeRGB, sRGB, ProphotoRGB, etc..
3) Different colour spaces display more or less of the visible spectrum.
It’s preferable that a device independent colourspace include all the colours that an output devices can reproduce while avoiding colours that cannot. Device independent colourspaces are often referred to as being a large colourspace or a small colour space depending on how much of the visible spectrum can be represented. AdobeRGB is a medium sized colourspace. sRGB is snaller and has become a standard for most consumer printers, digital cameras, etc.. Using a larger colourspace will enable a file address a wider variety of output (offset presses, film recorders, specialized inkjet printers). But if you typically print to sRGB targeted devices that cannot reproduce many of the colours displayed on your screen then it’s recommended you do final colour corrections in that colourspace. Many portrait and wedding photographers find an sRGB workflow to be more problem free.
4) Different colourspaces define colours differently. RGB images displayed on a monitor are made up of 256 levels (0-255) each of Red Green and Blue. Colours are defined by RGB values such as 128R, 57G, 210B and these values are what defines different colours. Colours with the identical numerical values will be different according to what colourspace it is in. Unless we know what colourspace is associated with the image, the RGB colour values in the image will have no meaning. Images displayed in the wrong colourspace will display incorrect colours.
Images can be CONVERTED to other colourspaces and new corrected values are assigned to the image. You can easily convert (re-map) a smaller colourspace image to a larger one without any loss. You can NOT convert a larger colourspace image to a smaller one without losing colours that do not exist in the smaller colourspace. The bigger the difference between the two the more potential there is for loss. The only similarity shared by between colourspaces is that all colours that have equal RGB values will be neutral (a shade of neutral gray).
5) You must respect the colourspace. When you open an image it is preferable that you work in the colourspace of the original.
A typical colour managed workflow
1) Insure that the monitor is calibrated properly (preferably using a hardware monitor calibration device).
2) Open the image and choose to Use the embedded profile if you are prompted that the embedded profile is different from your default working colourspace. In our case, at Dawson, your profile should have been saved in the Color Sync utility
3) To print the image-at Dawson Follow the directions attached to the printer.
At a commercial lab- Most labs use equipment’s default colour management settings which are set to reproduce an sRGB colourspace correctly. This is because the colourspace of all consumer digital cameras is sRGB. There is little to gain by sending your images in a different colourspace unless a lab is using custom settings that make use of a larger colourspace and are equipped to recognize embedded colour profiles. This is usually done my pro labs only and even many of them use an sRGB workflow. You risk having the colours reproduced incorrectly from labs that do not expect anything other than sRGB files. It’s simply safer to convert to sRGB and know that there is much less risk of things going wrong.
NOTE: Colour Management is NOT a perfect science !
The role of colour management is to enable us to get colours to reproduce as accurately as possible on different devices such as monitors, digital cameras, printers, scanners and film recorders. There are many variables that can affect the accuracy of the results so you should not expect perfection. But you CAN expect results to be very close and with a few small adjustments you should be able to produce as high a quality as a device is capable of.
- Measuring instruments accuracy depends on their quality.
- Viewing accuracy depends on the quality of the monitor.
-Output quality depends on the quality of the printer and the accuracy of the viewing light source. The printer can only reproduce a specific gamut of colours so there will be colours in almost every device independent colourspace that cannot be reproduced.
references:www.cambridgeincolour.com -tutorials-colormanagement
(a series of 6 tutorials covering many aspects of color management)
www.lynda.com -colormanagement
What is color management?- Achieving consistency and predictability between multiple devices.
Input devices, such as cameras and scanners, working devices, such as computer monitors and output devices such as printers.
We have first our input devices, our cameras and scanners our display device, our computer monitors and our output devices namely our printers.
Our input and monitoring devices live mainly in the realm of the RGB color space Why?
RGB is a system based on light.
Our output devices are dependant on the CMYK color space. Why?
Because colors in a printer are dependant on inks and the colors of printer inks are Cyan, Magenta, Yellow and Black.
Color reproduction has a problem in that a given color number doesn’t always produce the same color in all devices
1) Every device gets a profile
Various methods are used to create device profiles that describe to all other devices what its characteristics are. Monitor profiles describe what colours are produced when RGB values are sent to the monitor. Printer profiles describe what colours are produced when RGB values are printed. Scanner profiles describe what RGB values are created when colours are scanned.
2) We work in device independent colour spaces We use an device independent colour space to insure that all users use and see the same colours on their various systems. The monitor profile is used to correct the information we see on the monitor so that images displayed in a common device independent colour space will all look the same. Device independent colour spaces have names like AdobeRGB, sRGB, ProphotoRGB, etc..
3) Different colour spaces display more or less of the visible spectrum.
It’s preferable that a device independent colourspace include all the colours that an output devices can reproduce while avoiding colours that cannot. Device independent colourspaces are often referred to as being a large colourspace or a small colour space depending on how much of the visible spectrum can be represented. AdobeRGB is a medium sized colourspace. sRGB is snaller and has become a standard for most consumer printers, digital cameras, etc.. Using a larger colourspace will enable a file address a wider variety of output (offset presses, film recorders, specialized inkjet printers). But if you typically print to sRGB targeted devices that cannot reproduce many of the colours displayed on your screen then it’s recommended you do final colour corrections in that colourspace. Many portrait and wedding photographers find an sRGB workflow to be more problem free.
4) Different colourspaces define colours differently. RGB images displayed on a monitor are made up of 256 levels (0-255) each of Red Green and Blue. Colours are defined by RGB values such as 128R, 57G, 210B and these values are what defines different colours. Colours with the identical numerical values will be different according to what colourspace it is in. Unless we know what colourspace is associated with the image, the RGB colour values in the image will have no meaning. Images displayed in the wrong colourspace will display incorrect colours.
Images can be CONVERTED to other colourspaces and new corrected values are assigned to the image. You can easily convert (re-map) a smaller colourspace image to a larger one without any loss. You can NOT convert a larger colourspace image to a smaller one without losing colours that do not exist in the smaller colourspace. The bigger the difference between the two the more potential there is for loss. The only similarity shared by between colourspaces is that all colours that have equal RGB values will be neutral (a shade of neutral gray).
5) You must respect the colourspace. When you open an image it is preferable that you work in the colourspace of the original.
A typical colour managed workflow
1) Insure that the monitor is calibrated properly (preferably using a hardware monitor calibration device).
2) Open the image and choose to Use the embedded profile if you are prompted that the embedded profile is different from your default working colourspace. In our case, at Dawson, your profile should have been saved in the Color Sync utility
3) To print the image-at Dawson Follow the directions attached to the printer.
At a commercial lab- Most labs use equipment’s default colour management settings which are set to reproduce an sRGB colourspace correctly. This is because the colourspace of all consumer digital cameras is sRGB. There is little to gain by sending your images in a different colourspace unless a lab is using custom settings that make use of a larger colourspace and are equipped to recognize embedded colour profiles. This is usually done my pro labs only and even many of them use an sRGB workflow. You risk having the colours reproduced incorrectly from labs that do not expect anything other than sRGB files. It’s simply safer to convert to sRGB and know that there is much less risk of things going wrong.
NOTE: Colour Management is NOT a perfect science !
The role of colour management is to enable us to get colours to reproduce as accurately as possible on different devices such as monitors, digital cameras, printers, scanners and film recorders. There are many variables that can affect the accuracy of the results so you should not expect perfection. But you CAN expect results to be very close and with a few small adjustments you should be able to produce as high a quality as a device is capable of.
- Measuring instruments accuracy depends on their quality.
- Viewing accuracy depends on the quality of the monitor.
-Output quality depends on the quality of the printer and the accuracy of the viewing light source. The printer can only reproduce a specific gamut of colours so there will be colours in almost every device independent colourspace that cannot be reproduced.
Sources for Epson Inkjet Printing Paper
Three Sources for Ink Jet paper
-Access Info Tech at 2029 Metcalfe at the corner of de Maisonneuve has the largest
selection of Epson papers in the downtown area. They generally give Dawson
students a 20% discount. Ask for Alain.
-LL Lozeau 6224 St-Hubert corner of Bellechasse. A little out of the way, but good
selection of papers. They generally offer good prices. Always worth asking for a student discount. All round pleasant store.
-Photo-Service at 22 Notre-Dame, just west of Notre-Dame Cathedral in Old Montreal. A reputation for catering to professional photographers, hence good selection but pricey. Always worth asking for a discount.
-Discounts may be available only with a validated Student ID card.
There are plenty of other sources, both locally and on the Web that may have better selections or be cheaper. These are three, better known, local sources.
-Access Info Tech at 2029 Metcalfe at the corner of de Maisonneuve has the largest
selection of Epson papers in the downtown area. They generally give Dawson
students a 20% discount. Ask for Alain.
-LL Lozeau 6224 St-Hubert corner of Bellechasse. A little out of the way, but good
selection of papers. They generally offer good prices. Always worth asking for a student discount. All round pleasant store.
-Photo-Service at 22 Notre-Dame, just west of Notre-Dame Cathedral in Old Montreal. A reputation for catering to professional photographers, hence good selection but pricey. Always worth asking for a discount.
-Discounts may be available only with a validated Student ID card.
There are plenty of other sources, both locally and on the Web that may have better selections or be cheaper. These are three, better known, local sources.
Benefits of shooting in RAW vs. jpg
Some of the benefits of shooting RAW over jpg format
-jpg files are automatically shot in an sRGB color space
which we hace see has the smallest gamut.
-Dynamic range
a RAW file contains all of the data from the sensor which gives you a dynamic range of up to 8 stops. A jpg will give you at least a couple less. This translates easily to blown out highlights and loss of detail in shadows.
-RAW records the maximum amount of information
The best quality of a RAW file is the ability to post process. Non destructive software such as Lightroom and ACR can make endless adjustments to your image without destroying the RAW file. You can come back to it over and over and it will not be changed.
-jpg files are automatically shot in an sRGB color space
which we hace see has the smallest gamut.
-Dynamic range
a RAW file contains all of the data from the sensor which gives you a dynamic range of up to 8 stops. A jpg will give you at least a couple less. This translates easily to blown out highlights and loss of detail in shadows.
-RAW records the maximum amount of information
The best quality of a RAW file is the ability to post process. Non destructive software such as Lightroom and ACR can make endless adjustments to your image without destroying the RAW file. You can come back to it over and over and it will not be changed.
Assignment-2
Photo:Jan Groover
Professional Photography Program
DL 2 Laurel Breidon
Assignment 2: Lightroom Editing and Printing “The Kitchen Sink Project” 15%
Due: Beginning of Class, Monday Feb 28. (Late assignments marked at 60 or 0%).
Purpose: To familiarize students with the Develop Module in Lightroom. To introduce students to the Ink Jet printing process.
Submit: Students will submit two A3 sized ink jet prints.
Using their home kitchen spaces, students will produce a series of images. Import the images into Lightroom, correct the images to the best of your ability.
Check out the photography of Jan Groover (see photo above) as an inspiration.Take the ordinary and make it extraordinary! Choose your two best images and output two ink jet images.
Students will submit two final prints (as described above) as well as all test prints and failures.
For the purposes of this assignment students must print in-house, at Dawson.
The prints must be placed in an appropriately sized manila envelope. The envelope should be identified with the teachers name, your name, the course name and the assignment number on the outside front surface. One assignment per envelope.
The envelope should not be sealed. Please no padded envelopes
Marking: The images will be marked on technical competence; proper distribution of tonal values, correct colour values, shadow detail, highlight detail, sharpness etc.
Please remember that the aesthetic content of the image is central to the assignment and image impact will affect the final mark.
No boring pictures!!
Assignment-1
Professional Photography Program (DEC)
Digital Lab 2 Winter 2011
Assignment 1: Monitor Calibration and production of a Monitor Profile. 5%
Due: End of Class, Wednesday Jan 27
Purpose: To familiarize students with colour management issues and monitor calibration.
Method: To be demonstrated in class.
• Use the Greitag Eye-One or Color Eyes software and “puck” to calibrate and create a proper profile for your monitor.
• Choose 'CREATE MONITOR PROFILE' to begin the monitor calibration process; follow the step-by-step onscreen instructions.
• Name the profile using the format "DATE + Computer# + your name"
(Ex: jan_31_4G13-21_lbreidon).
• Copy your profile, you should find it in the User/Library/Colorsync/Profiles folder. Submit a copy to my Dropbox.
• The copy placed in my Dropbox must be in a folder titled DL2_Ass1_1st initial family name. (Ex: DL2_Ass1_lbreidon) If the folder isn’t titled properly the assignment won’t be marked. (I receive hundreds of assignments in a semester. You have to make it easy for me to find things.)
• Activate your monitor profile by going to the Apple icon drop-down menu and selecting System Preferences -> Display -> Color . Choose your new monitor profile in the list.
Submit:
One monitor profile.
Digital Lab 2 Winter 2011
Assignment 1: Monitor Calibration and production of a Monitor Profile. 5%
Due: End of Class, Wednesday Jan 27
Purpose: To familiarize students with colour management issues and monitor calibration.
Method: To be demonstrated in class.
• Use the Greitag Eye-One or Color Eyes software and “puck” to calibrate and create a proper profile for your monitor.
• Choose 'CREATE MONITOR PROFILE' to begin the monitor calibration process; follow the step-by-step onscreen instructions.
• Name the profile using the format "DATE + Computer# + your name"
(Ex: jan_31_4G13-21_lbreidon).
• Copy your profile, you should find it in the User/Library/Colorsync/Profiles folder. Submit a copy to my Dropbox.
• The copy placed in my Dropbox must be in a folder titled DL2_Ass1_1st initial family name. (Ex: DL2_Ass1_lbreidon) If the folder isn’t titled properly the assignment won’t be marked. (I receive hundreds of assignments in a semester. You have to make it easy for me to find things.)
• Activate your monitor profile by going to the Apple icon drop-down menu and selecting System Preferences -> Display -> Color . Choose your new monitor profile in the list.
Submit:
One monitor profile.
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