Updated
11 Jan 12
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Local Photo Courses etc.Really Serious about your Photography?KPC Member Ron Paris had a week at the Niagara School of Imaging last year - a five day course, fully inclusive, and learned a huge amount and thoroughly enjoyed the experience. Not cheap, but if you have the money it would be a real treat. Enough to turn professional? No, probably not but it could answer your own questions about whether a career in photography would be for you - then you could go for a degree or diploma course elsewhere.St. Lawrence College Photography coursesCreative Photography courses with Mieke Van Geest, Spring 2012Details awaited.Contact Mieke for further information or to discuss your level: 613-546-7542 See St. Lawrence College, online www.stlawrencecollege.ca (under Continuing Education) to register for Levels 1 and 2.Go to St Lawrence College website for more information; register at 613-544-5400, ex. 60.The St.Lawrence College Brockville Campus also has four Digital Photography courses.Jonathan SugarmanJonathan usually runs several different courses
through the year, at his home in Kingston..... | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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| Focal Length | Shutter Speed |
| 10mm | 1/20th |
| 18mm | 1/30th |
| 28mm | 1/50th |
| 55mm | 1/100th |
| 100mm | 1/160th |
| 250mm | 1/400th |
| 400mm | 1/640th |
Always use any 'Vibration Reduction' or 'anti-shake' feature of your camera - these are electronic methods to counteract camera shake and vibration by introducing vibration of their own (either into the lens or the sensor). VR may give you back the extra stop or so of shutter time and may cancel out the requirement for the above settings, but they're worth bearing in mind. Tripods are the best way to stop camera shake - but don't skimp on the cost of these - a cheap one is usually not very stable at all and if you rely too much on them they can be worse than hand-holding the camera. A good tripod has three sturdy legs that keep things very still but remember - when using a tripod, switch off that anti-shake or 'vibration reduction' device you have - they're designed to 'counteract' camera shake but if there's nothing to counteract then they just introduce their own vibration. If you don’t have a tripod then another simple way to enhance the stability of the camera is to rest your camera on something firm and steady, (a beanbag is useful) or use a monopod or hold onto it with two hands.
Exactly how you should grip your camera will depend upon what type of digital camera you are using and varies from person to person depending upon preference. There is no real right or wrong way to do it but here’s the technique that I generally use:
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Use your right hand to grip the right hand end of the camera. Your forefinger should sit lightly above the shutter release, your other three fingers curling around the front of the camera. Your right thumb grips onto the back of the camera. Most cameras these days have some sort of grip and even impressions for where fingers should go so this should feel natural. Use a strong grip with your right hand but don’t grip it so tightly that you end up shaking the camera. And, just like rifle shooting, squeeze the shutter don’t jab at it).
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The positioning of your left hand will depend upon your camera but in in general it should support the weight of the camera and will either sit underneath the camera or under/around a lens if you have a DSLR.
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If you’re shooting using the view finderr to line up your shot you’ll have the camera nice and close into your body which will add extra stability but if you’re using the LCD make sure you don’t hold your camera too far away from you. Tuck your elbows into your sides and teach yourself to stand still. It's worth adding that controlled breathing always helps as well - I find that it's good to press the shutter just as I've exhaled.
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Add extra stability by leaning against an object like a wall or a tree or by sitting or kneeling down. If you have to stand and don’t have anything to lean on, for extra support put feet shoulder width apart to give yourself a steady stance. The more still you can keep your body, the more still the camera will be.
Gripping a camera in this way will allow you the flexibility of being able to line up shots quickly and will also help you to hold still for the crucial moment of your shutter being open.
Of course everybody has their own little techniques that they are more comfortable with and ultimately you need to find what works best for you – but in the early days of familiarizing yourself with your new digital camera it’s worth considering your technique.
See also this website
Camera Care
Whether you use a film or digital camera, point and shoot or SLR, there are some basic tenets of camera care. The 3 main enemies of your camera are:
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Dirt
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Shock
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Water
Dirt
Dirt is everywhere! It's in the air, it's under our feet, and all too often it's on (and in) our cameras. While dirt on the outside of your camera is not a problem (excepting the lens of course), it's the potential the dirt has for getting into your camera that is the problem. Dirt in a camera can affect moving parts, damage mirrors, clog electronic contact points, get on film, and stick to digital sensors. The best course of action for dealing with dirt in your camera is to avoid it. The vast majority of shooting situations will not cause a dirt problem for your camera. However, some areas are more prone to dust and dirt than everyday usage. In order to protect your camera it's best to use a rain hood for your camera. Rain hoods are vinyl/nylon pouches made for specific cameras that allow you to still reach camera controls while protecting the camera from environmental conditions. You can purchase these at your favourite camera shop or make your own using a large zip bag. To make your own cut a hole for your camera lens in one side of the bag and use the zip end to put your hands through to the controls. You will have to carefully secure the bag to the camera lens using tape or a rubber band. Be sure to use a large enough bag to allow for lens movement. Lens changes and film loading. If you are not careful when changing lenses or loading film a lot of airborne dust/dirt can enter the camera body. To minimize dust during lens changes turn the camera facing down and press the lens up into the camera. This prevents dust from falling into the camera body. Also check out www.cleaningdigitalcameras.com for all the information you need (and some you don't!)
Shock
Outside of fully encasing your camera in shock resistant materials, all you can hope to do is avoid camera shock. There are some very common causes of camera shock....
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Broken Camera Strap
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Camera Bag Left Open
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Non-Use of Camera Strap
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Using the Camera on Unstable Support
The best way to avoid these problems is to just pay attention. Check your camera strap and its connectors regularly for wear or signs of damage. Make it a habit to double check that your camera bag is properly closed before picking it up. Use the camera strap whenever using your camera. It is there to catch the camera if you fumble it. Never use questionable support for your camera. Fence edges and railings at scenic overlooks are not acceptable support. Use a tripod on stable ground - and all but the sturdiest of those can be blown over.
Water
Water doesn't react well with film or digital sensors. Nor does it react well to batteries or any electronic parts. If your camera is not made for underwater use or encased in a waterproof housing, keep it out of water. Use a rain hood during bad weather (even heavy fog can cause problems for some cameras). If conditions would cause eyeglasses to fog when moving from indoors to outdoors or vice-versa, there is a good chance your camera could suffer internal condensation. Use a camera bag to insulate your camera and allow it to change temperatures gradually. If your camera does get wet (more than a few raindrops) there are only a few things you can do.
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Open the camera (if possible) and turn it so that the water can drain freely.
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Wrap the lens in a very absorbent towel once all water has drained that will drain. Do NOT blot or wipe the camera's internal workings.
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Take the camera to the nearest professional repair shop immediately.
Lens Cleaning
Camera lens
cleaning – so much more fun than sensor cleaning...
If smears appear on your shots, you don’t have to be Hercule Poirot to
work out that your camera lens needs a good clean. (Tiny hairs of spots
in the picture when seen on your computer probably identify a dirty
sensor - a different and more serious problem and unless you know
exactly what you're doing, you're better off taking the camera to a
competent professional)
Cleaning your photographic equipment is
essential, especially when it comes to lenses. A lens is one piece of
gear that can cost you more than your camera, so it’s worth keeping it
well-maintained so that it continues to create fine images for a
lifetime.
Get the best from your camera lenses by cleaning them
regularly. You only need simple kit – a blower brush, a microfibre cloth
and some lens-cleaning fluid – all of which you can pick up from your
nearest camera store.
Don't forget that while the exposed glass elements are the most
important parts of the lens when it comes to optical quality, it’s also
worth giving the casing a good clean. Some lenses are weather-sealed,
but avoid using your cloth dampened with water. If there’s dirt that’s
hard to remove, be careful if you’re using liquid-based cleaners, as the
electronics inside your lens are extremely sensitive.
Cleaning camera lenses: step-by-step guide
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Remove the filter
A good way to protect the front element of your lens is to fit a protective camera lens filter. A standard UV filter such as the Hoya UV(0) is ideal. Before cleaning, remove any filter you’ve been using. If you haven’t removed the filter for a while you may find this difficult, in which case use a cloth to get a better grip. UV filters are particularly useful when shooting near the sea, to protect the front element from salt and sand. -
Blast away dust
Dust on the lens can be a real issue, so use a blower brush to remove any loose dust or grit around the front element. Repeat the process for the rear element. You’ll need to extend a zoom lens to either its narrowest or widest focal length to make the glass accessible. Sometimes, this is all that's needed to give you crystal-clear optics. Still smudged? Jump to step 3… -
Get rid of moisture with a microfibre cloth
As residue left by rain or general moisture may still remain, rub the front element in a circular motion with a microfibre cloth. Repeat with the rear element if required (although you should try and avoid touching the rear element as much as possible). Dry cleaning will shift most dirt, but oil and grease left by fingers can leave a thin film across the glass. -
Lens-cleaning fluid
To help remove greasy stains, use lens-cleaning fluid. Tip a small amount on to a microfibre cloth, then rub in a circular motion to remove the last of the dirt. Once dry, use a dry lens cloth to remove residual cleaning fluid. When you’ve finished, repeat the cleaning process for your filters, then reconnect your filters and lens caps (give then lens caps a quick blow first to remove any dust or particles that have collected in them).
Once you've used lens-cleaning fluid, polish the front element with a clean microfibre cloth again.
Camera lens cleaning kit
Equip yourself with the best lens cleaning kit and you'll find that it's worth its weight in gold (which, admittedly, isn't much when you're talking microfibre cloths). It's a small investment to keep your expensive lenses delivering sharp results. All these items can be easily sourced in stores or online…
-
Lens-cleaning fluid
Make sure you use a commercially available lens cleaning fluid designed for coated lenses. These are usually alcohol based. -
Lens wipes
Lens tissues are an alternative to a microfibre cleaning cloth. They are also useful for wiping down lens contacts and other areas. They’re disposable and should only be used once. -
Silica gel
Silica gel is a granular material that absorbs moisture, thus reducing condensation and the likelihood of fungus and mould forming inside a lens. Reusable silica gel is a worthy investment - keep some in your camera bag and recharge as necessary. -
Dust blower
A large dust blower is an effective way to clean dust particles from your lens and camera gear. It can also be used to blow dust out of the sensor chamber. -
Soft brush
A fine brush with soft bristles, such as camel hair, is ideal for removing potentially abrasive dust particles prior to cleaning glass with a lens cloth. -
Microfibre cloth
Microfibre cloths are ideal for use in conjunction with lens cleaning fluid. They're soft and made of tiny fibres that suck up dirt and oil. As well as using them on lenses, they're ideal for wiping down the screens and viewfinder of your camera. -
Lens-cleaning pen
This nifty little gadget has a retractable cleaning brush on one end and a soft cleaning pad on the other. The pad is impregnated with a cleaning fluid that effectively removes smudges and dirt. -
Skylight and UV filters
UV or skylight filters are ideal for protecting a lens’s front element, as they’re much cheaper to replace if they’re damaged. Both filters block UV light, reducing blue haze, but the skylight filter has a slightly warm tint.
For those of you starting out in photography, try for two things...
1) Learn the basics. Understand the basics. Become well versed in the basics of how light is captured and presented in the digital realm and in print. Knowledge of the basics will allow you to create art you enjoy seeing.
2) Experiment. Don’t be afraid to mess up. Don’t bother asking others “What would happen if I forced a higher shutter speed?” Just do it and learn from it. The joy of experimenting with digital photography is instant feedback (via a camera’s display and histogram) and hopefully instant understanding..... "When I do this, this happens." Photography, for all its glory as an art form, really isn’t all that exciting from a discovery standpoint. It follows certain laws of physics in regard to what light does. From experimentation you'll know just how much darker your exposure will be if you increase my shutter speed two stops. It’s not like I discovered a new species of plant in a rainforest or a new galaxy in the night sky. But it is still just as valuable from a learning standpoint.
There have always been classes, magazines and books to help people learn about photography - even to a very advanced level. In the days of film this was very helpful indeed because experimenting always had an out-of-pocket expense for film and development. In the age of digital photography, after the initial expense of a camera, lens and memory card, that barrier is gone and the learning is available everywhere.
Alongside all the learning, though, you will gain more from doing than from reading and this is where experimentation comes in. Want to see what a scene looks like overexposed? Go for it. Think a picture needs far more blue saturation when viewed on a PC? No problem. A shot might even ’speak’ to you. And that is the heart of art. Connection with an image. Emotion stirred. If it works for you, don’t worry too much what others, including those club competition judges, might think. It doesn’t have to be a literal rendition of a scene nor does it need to be tack sharp in all corners. At some point in the future you will look back at shots you took one year or 50 years ago and they will either still speak to you or you will think they are horrible. “What was I thinking?” is a phrase often spoken with regard to photography, writing, fashion and haircuts. But without experimenting, without trying new things, without learning for yourself, you will not progress towards your own vision and creating art you enjoy. You will read over and over about what you 'should' do in photography - it comes from people who have done the experimentation and worked out the best solutions, so there is a great amount of learning to be had from those who have taken the time to learn and then offer their wisdom. This is why outings with club members can be so valuable as learning experiences. See how people set up their shots, understand the techniques of taking a shot while moving the camera, etc. See for yourself what happens when you (or another member) does certain things. Don’t be afraid to make mistakes. They are a great teacher. Add a few clues from helpful colleagues (club members perhaps) and you'll be adding to your learning by taking leaps forward and not just little steps. Be prepared, though, to take your own path.
Some Golden Rules......
1 Read your camera manual. If you don’t have it anymore, you can probably find it online. Learn every feature of your camera - you'll be take amazing pictures if you know how to use it properly.
2 Take your camera with you everywhere you go, and take lots of photos. Take photos of everything. Find something uninteresting and find a way to make it interesting. That is the essence of art.
3 Practice in manual mode. All cameras have a manual mode take a photo and change a single setting. Then change that one setting and take another photo. It's the best way to understand the manipulation of light.
4 Make each photo count. One of the biggest downfalls of digital photography is the ability to take so many photos so easily for so little monetary investment. So we buy a camera and snap away, hardly taking a thought to what is in the view finder. STOP! Think about your next photo, then take the time to make it amazing. You’ll start thinking like a photographer and your photos will improve ten fol the other hand, don't be afraid to experiment! This is where the digital camera has a great advantage - instant feedback and the possibility of trying out many things until you are happy with the result.]
5 Keep your best photos in a special place, discard the rest. Professional photographers take thousands of pictures and show only their best to the client. Take photos for you, you are your own client. One day you’ll look back and be amazed at your work.
Composition
Now for something completely different..... I'm going to recommend a book.
Remember those? Paper, words, pictures? Something you can read at the cottage, in the garden, in the bath even. This one is just about the best book about composition you'll find - "The Photographer's Eye" by Michael Freeman. I'm sure you can find it online and it's certainly in all the best bookshops. It's around $20 online, a bit more in a shop. The author has also written many other books, among which "The Photographer's Mind" and "Understanding Exposure" are outstanding. Highly recommended.
Resizing Pictures for the Web and eMail
We often ask for pictures to be sent, for competitions, slideshows or illust. However, just how 'big' is a 'big file'? Well, it should be borne in mind that No normal computer monitor can display at more than 100 (but usuallnch - any more is wasted. So, adjust the ppi of your picture(s) to a maximum of 100ppi, and preferably 72ppi. (This is usually done in the Image/Size control of your graphics software). Have a look at the table of Resources above..... there are videos for resizing and saving for the web and email.
Attaching pictures to email.... Every email application has the
ability to add 'Attachments'. When you click on 'Attachments' you
will have a dialog box asking for the lo
cation of the file you
wish to attach. (So you'll have to know where you saved the file).
You just find the file and click 'Attach' or OK. Another method uses
what is known as "Rich Text", and you can place a picture within
your text (technically, it's still an Attachment).
On the subject of re-sizing images......
In preparing images for the Online Competition, I still have to correct many of them for four editing/resizing errors..... These errors would result in less than useful images for competitions etc because they would just appear wrong. So it's worth you getting these right, so that your masterpieces can be shown at their very best. And if you can't get it right for our own little competition, where I'm prepared to correct many things, you're not going to stand a chance in any other competition where those shots that don't meet the criteria will simply be rejected.
- Wrong ppi or resolution. No image online can be shown at more than 72ppi (except with a few top-end monitors) and certainly not on the club laptop which is used with the projector to display images for presentations and competitions. Saving an image at 300ppi and 3 inches wide will not work - it won't show at better than 72ppi and will be tiny.
- In conjunction with the above, wrong physical dimensions This is usually the result of not reducing the resolution of the image, or rather the ppi of the image, to 72ppi. But think about it - an image width of just 4 inches?
- Wrong Colour Space (or no Colour Space at all)..... Colour Space (the range of colours in an image) can be selected for a digital image by changing it in your editor.... and the projector we use (and the normal colour space used online) is sRGB. You actually need a special web browser to be able to view anything in AdobeRGB or PhotoPro spaces. The AdobeRGB has a wider 'gamut' of colours and is great for home printing but can look quite washed out on any other device. The projector that we use can either be set to sRGB or to a custom colour setting - but that would mean changing the setting for each and every image that's not using the same colour 'standard' - if everybody saved in sRGB, we could keep the projector to sRGB and then all images would show at their best and nobody would be at a disadvantage.
- Wrong bit-depth This is probably the result of processing your Raw image and choosing to open it in an editor at 16-bit depth. You cannot save an image in 16-bit as a Jpeg, so the image was saved as a TIFF.
- One recent image I received had the 'Grand Slam' of wrong choices.... A 16-bit file, 4 inches wide, saved at 300ppi as a TIFF, and in the wrong Colour Space. Another one was 420 inches wide @ 8ppi. Think about it.
So remember.... Competition Standard.....
Not just in the club but for nearly all other digital competitions - unless otherwise directed - you need to get these right.
- Saved in the Jpeg format
- 72ppi
- Dimensions around 10" (or up to 1024pixels) on longer sides. BUT SEE NOTE BELOW.
- Colour Space sRGB
- 8-bits..
NOTE: For images entered in the main club competitions (not the online competition), and therefore to be shown on the projector, note that you need the vertical sides to be no more than 780 pixels..... otherwise parts of the image could be chopped off and/or your image will appear small.
Your Digital Darkroom
Give yourself the best chance of producing top quality photos by building a powerful but affordable digital darkroom.
Your digital darkroom is where the magic happens - where you transform the image captured by your camera into the dynamic masterpiece you envisioned behind the lens. You may only need to make a few tweaks to achieve the desired results, but you'll still need the right hardware and software setup. You will also need to consider your photographic 'workflow', your software, some basics of editing, and showing off your work (printing or putting online). This will be an on-going series, starting with.....
Part 1 - Hardware
How much power?
There are few things more agonising than watching your computer struggle to open image files because its processing chip, operating system and/or memory isn't up to the job. It's important, therefore, to verify the system requirements of your chosen software before buying any new computer. Get the most powerful one you can afford, ,bearing in mind that it will give you about five years of life before you have to start thinking of a new one. Whether it's a PC or a Mac, get a minimum of 4Gb of RAM.
Which Screen's Best?
Most computer screens today are LCD flat-screens with a choice of matt or glossy finish. Matt screens produce less glare, but care with placement is still needed to avoid images appearing flat. Whatever you opt for, it's crucial to calibrate it to ensure accurate colour assessment. What size? I suggest a minimum of 19", but now you can get 22" or 24" for not a lot more when it's bought as part of the deal.
How much storage do I need?
You can work out the average gigabytes of storage you'll need per year based on your shooting format and the volume of images that you shoot each month. Remember, Raw files require around four times more storage than Jpegs and don't forget to factor in the number of back-ups that you'll want to make. I'd recommend 160Gb, though in five years that could seem quite cramped so, again, get what you can afford.
Laptop or Desktop?
Laptops are more fragile, more expensive and can be less powerful than desktops. The screen will make it more difficult for you to assess colour and tones, while repairs and upgrades cost more. It's probably going to have 'mobile' features..... but if you like the idea of being able to take your digital storage on location with you, the much smaller Notebooks are now incredibly cheap and will allow you to move images from your camera's memory cards into a safer place (huge memory cards are available but if one gets corrupted that's a LOT of pictures lost!) They will also let you at least discard those pictures which don't come up to scratch, but they are usually too under-powered for heavy image editing. Notebooks now have built-in wireless connection so you could find a wi-fi 'hotspot' on your travels or, more expensively (about $300 annually), take an 'internet stick' with you to connect online from almost anywhere. Both Laptops and Notebooks have deficiencies in their power or capacity to store and edit images, so many people would benefit from a small Desktop outfit - not incredibly expensive nowadays, with huge amounts of storage, more accurate screens - they're like the 'tractor' of the desk.... many different tools and different software etc. can be added. A couple of recommended extra items for using with Laptops and Desktops... a larger back-up disk, a Multi-Card Reader (you're bound to be given a card by somebody and asked to edit their pictures) and a drawing/graphics tablet.
Part 2 - Software
Whether you want to just tidy up your images prior to printing or posting online, or you plan to do some serious image manipulation, an image-editing program is essential. If you're working with lots of files you may wish to consider buying dedicated library software too.
Free Software with your Camera
The software that came with your camera (if you have any) usually consists of a very basic image editor and browser that will allow you to look through your files, perform simple exposure and colour adjustment, correct red-eye, crop, sharpen and save. This is ideal for the beginner who just wants something accessible to get started with but more advanced users will find the limited options a serious hindrance. If you don't own any other editing software, it's worth checking what else is in the box, because camera manufacturers often bundle new cameras with trials of more advanced programs. Canon's software, "Digital Photo Pro", is excellent. It can convert Raws for you to edit and do several other things and it's free. Other manufacturers also have free programs to do the same but note that Nikon's software, "Nikon Capture NX", costs quite a bit of money.
Pros:
Will get you started, handy in emergencies or 'on the road'.
Cons: Severely limited and basic set of editing tools.
Editing Programs
Adobe Photoshop is the 'big daddy' of image editing
software, offering unrivalled power and flexibili7y plus advanced
Raw conversion tools. It is, howe7er, very expensive and few
amateurs could justify the expense. It's also a tough learning curve
to get anything like the best out of it. The Photoshop discussion
groups on Flickr are full of questions from people who have
obviously jumped in at the deep end and find themselves totally
confused (many people seem to get a digital camera, buy a computer
and then choose Photoshop because they've been told "it's the best".
It probably is, but it has many rivals, mostly a lot cheaper (or
free) and many of them are far more usable by the beginner.
One
budget alternative is Adobe Photoshop Elements - it follows
the same editing principles originated by its big brother (so if you
want to eventually have 'full' Photoshop, getting used to Elements
makes the transition easier) but tries to simplify the tasks
(sometimes, rather annoyingly, even to the point of hiding various
tools). It also has an excellent catalogue program ('Organizer') and
as well as being a much easier program to learn it's perfectly good
for many professionals..... though it can only work properly with
8-bit files. It has the advantage of a lot of support from
magazines, books, online resources etc.
Other contenders......
Corel Paint Shop Pro Photo, easy program, as good as PS Elements
in many ways (and handles 16-bit files), similar price. Follows its
own editing techniques which don't transfer to other programs.
Serif Photo Plus... a clone of Photoshop, very cheap, good
documentation - good place to learn.
Gimp It's Free! But
it can be difficult to learn if you've become used to the way that
Photoshop works. It does everything that Elements can do, probably
more, apart from catalogue.
Pros: Offers virtually every
image-editing tool you could ever need.
Cons: The full Photoshop is very expensive and the
accompanying 'Bridge' catalog software is limited.
Raw Converters
The primary function of a Raw converter is to process and
convert the non-standard, otherwise unreadable Raw files that your
camera generates into universally recognised, standard image files
such as Jpegs and Tiffs. On of the most well-known converter is
Adobe Camera Raw, which comes as part of Photoshop, PS Elements and
Lightroom (see later). Apple's Aperture also features a powerful Raw
converter. Camera manufacturers produce their own bespoke Raw
conversion software and there are also third-part options, such as
'Bibble'. Some people prefer the camera maker's own software5 but
Adobe Camera Raw (ACR) is regularly updated.... although there is a
trap - Camera Raw is updated every two or three months, to include
the ability to process the (slightly different) forms of Raw files
that each camera comes along with. So you could buy a new camera and
get the latest version of ACR. However, you may then find that the
latest version of ACR is not compatible with the version of PS or PS
Elements or Lightroom that you are using. You still have some
options, though...... you could upgrade your (expensive) editing
program, or use the camera maker's own software, if available (like
Canon's Digital Photo Pro, or Nikon's Capture NX) or your camera may
be able to take 'DNG' files - a raw format (often called "Digital
Negative") developed by Adobe in an effort to standardise the whole
Raw situation. You could also use Adobe's free 'DNG Converter',
which will convert your Camera's Raw files (the CR2s, NEFs, PEFs
etc) to the DNG format and then you can process it further in any
version of ACR.
Pro: Offers dedicated Raw file
conversion and enhancement
Con:
Other image-editing options such as selection are usually
unavailable, can be slow or just a plain hassle.
Library Software
It's easy to get into a kerfuffle when you're working with
hundreds of photo files. A specialist library software package
such as Microsoft's iView MediaPro or Extensis Portfolio will
help you to streamline your workflow. Solutions on offer
typically include keywording, cataloguing, backing-up and easy
file-sharing solutions, such as slideshows and web galleries.
You don't get any image editing tools but, with the exception of
all-in-one imaging solutions, (see below) the library options
offered by image editors such as Photoshop can't match the power
and flexibility of a dedicated library program.
Pro: Offers a wealth of powerful
asset management tools.
Con:
Image-editing tools are not included.
'Do-it-All' Solutions
'Do-it-All' solutions aim to provide everything the
photographer needs to download, organise, edit and showcase
their photographs. They provide a complete workflow solution, so
that ideally no additional software is required. Apple Aperture
and Adobe Photoshop Lightroom are two such programs, both
catering specifically for photographers who shoot in Raw.
Because of the advanced nature of many of the tools on offer and
their extremely powerful system requirements, these solutions
are usually only favoured by professionals, but more and more
people who 'don't really want to get into editing' are finding
them very useful and easy to use.
Pro: All the tools needed to
manage, edit and share photos in one program
Con:
Require relatively powerful computers to run successfully.
Part 3 - Working with RAW Files
RAW files hold the key to unrivalled photographic quality if you understand how to process them correctly.
The great thing about RAW files is that they capture more image information and offer greater scope for recovery than any other format. Because no settings are applied in-camera, they put you in complete control of the image-editing process.
I'll describe the use of Adobe Camera Raw, which comes as part of Photoshop, PS Elements and Lightroom. The version that works with Photoshop is a lot more advanced than the version that works with Elements, as only Photoshop can exploit the more detailed areas. If you can master 'ACR' then you may find that the software that your camera manufacturer bundled with the camera can do an even better job. (See above concerning versions of ACR and PS/PSE). ACR can also be supplemented by a free download from the Adobe website called "Camera Profiles". See also DNG files, above. As above, ACR will, if it is up to date and later than the release of your camera model, not only open Raw files from your camera but also, in conjunction with another free download "Camera Profiles", recognise your camera - it will show up in the 'Camera Calibration' tab to give the best result, even before you start making any corrections.
Exposure Correction
The 'Basic' tab offers several tools for refining the shadows, highlights and overall exposure of your image. You can fix minor problems and make subtle enhancements using these, but there are limits, e.g large exposure increases can increase noise in the shadow areas, whereas large exposure reductions can block up shadow details and make highlights appear posterised.
Colour Enhancement
You can correct colour casts via the white balance ('or Tint') sliders or eyedropper, plus fine tune the hue of colour ranges. This is the same as altering White Balance in-camera. There is powerful colour enhancement in the form of Saturation, Vibrance and Clarity tools, plus saturation of individual colour ranges. Just standing back a moment, these subtle colour alterations are all well and good, but completely useless unless you have a monitor that is calibrated to reflect the true colours you are altering (and, if printing, you will need to make sure you are set up properly there too, with print profiles). At this point, we are beginning to wander into 'colour management' territory.... a subject that is beyond the scope of this website. See the Links page for detailed technical matters, particularly 'Cambridge in Colour'. However, if anybody is having problems with their home printing, using PS or PS Elements, feel free to ask me - I've been there, got the T-shirt.
Sharpening/Noise
ACR offers sharpening and noise reduction, but the controls are more limited than those offered by dedicated plug-ins, like 'NoiseNinja', or 'NixSharpen'. Frankly, I don't bother touching this tab in ACR.
ACR with (full) Photoshop
This version also has tools for Tone Curve, Hue/Saturation/Luminance, Split-Toning, Lens Corrections and Presets
Other ACR notes...
You can open a Jpeg and run all the controls on it.... just go to "Open As" inside PS/PSE and choose your jpeg, choosing "Camera Raw" as the File Type.
You can adjust several Raw files at a time by opening them all together and using 'Select All' in ACR (however, you can only open one jpeg file in ACR at any one time).
ACR has no multiple layers or selection tools - all adjustments are applied 'globally'.
You can choose to open your file (which is probably a 12-bit file) as either an 8-bit or 16-bit file in PS/PSE. However, bear in mind that PSE (and even PS) is severely limited in how much it can edit in 16-bit and cannot use layers and/or several of the filters.
Just hit 'Open' when finished with the file(s) in ACR and the file will open up in PS/PSE. (Using the 'Save Image' button will save the file directly but I find that it's best to see it in the editor and save from there.) Note that, though it 'says' that you're still working with the Raw file, you are, in fact, working with the Raw file plus a 'sidecar' file (.xmp) which contains all the information about what you've just done to the Raw in ACR. When you've finished editing, you won't be able to Save the file as a Raw - only your camera can do that - so, to keep all the details, quality and editing (and even the layers and selections), at this stage it's best to save as a PSD or TIFF file (though they can be very large).
There's a very useful 8-page set of hints here for using Adobe Camera Raw (the simpler, Elements version).
Part 4 - Editing your Pictures
For consistent results get in the habit of asking yourself the following questions when editing each shot:
Is it well composed?
The first step is to ask yourself whether your shot is perfectly framed as it is. If the answer is no, you may well be able to improve matters using the Crop and Rotate tools in most software (including Adobe Camera Raw). Cropping out excess sky or a distracting element on the edge of the frame, for example, could turn an average shot into a great one.
Are the Levels OK?
'Levels' is the way to find out if any parts of the picture are 'clipped'.... the highlights are 'blown' or the shadows completely void of detail. A Levels adjustment will usually bring an image to its best range of tones, by use of a Histogram. So, assess the exposure in Levels. If the highlight/shadow ends of the tone curve don't reach the corresponding end of the horizontal Levels axis, pull the white/black point slider across until it does. The Midtones slider can alter the appearance like a change of exposure. Note, you should check the Levels even if you've edited your image in Camera Raw, because you may find the exposure is slightly off and need re-editing. The Curves adjustment, if you have one, will also affect the contrast and is worth learning to use properly. Curves adjustments are often best left to quite late in your editing process.
What about colour?
Is there a colour cast on your image? If so, and you're in Camera Raw, adjust the White Balance using the Temperature and Tint sliders. In your main editor, you can alter the saturation of the three channels by use of the Hue/Saturation controls, or you can add a Photo Filter adjustment layer.
Is it sharp?
The last step is to assess the sharpness of your image. Leave software sharpening to the very minimum - if at all. If you need to sharpen then the best option in Photoshop is Smart Sharpen, while in Elements and most other programs you need to learn how to use the Unsharp Mask well. Another method is to use a High Pass Filter - make a duplicate layer, set in Overlay or Soft Light Blend Mode and go to Filter>Other>High Pass, set to about 5px. Unlike the other methods, this will not leave artefacts or increase chromatic aberration.
