• files for printing

• files for critique, web, and email use

• making actions, demo'd with the High Pass USM Technique.

• basic color correction techniques

tips:

1. make actions for the various sharpening techniques presented in this class.

2. bring in Epson Photo Paper to all future classes (CostCo - best buy).

3. bring zips or CD's to transport work from here on in.

1. Each week tutorial files will be available for this class through the assignment tool demo'd in class.

2. Bring Epson Photo Paper (8.5 x 11) to each class from this point forward. CostCo sells 100 sheets for approximately $20.00. This paper will be used for output tests in connection with each week's tutorials. You'll also find it's also a good test print surface before final prints are generated.

3. Bring zips (or CD-R's) to each class from this point forward.

4. Download these files for our Classroom Tutorial Workshops. They are designed to give you experience with new techniques introduced during weekly lectures.

5. Submitting tutorial files will be required each week. THESE WILL NOT BE GRADED IN THE TRADITIONAL SENSE. You will receive a 100% for uploaded files that demonstrate you have attempted the technique outlined in each tutorial - regardless of your degree of success with that particular technique. You will receive a zero only when no files are submitted.

6. If you have missed a class or have not completed your work during class, you have one week to complete the tutorial work (these must be submitted before the next class begins).

7. Save your completed tutorial files as fileName_lastName.jpg. Upload the completed files through the assignment tool.

8. Today's Tutorial Files include:

T1_ColorCorr.jpg
T2_Sharpen1.jpg

9. One print: 2 versions of Sharpen1 - before and after.

1. From your master archive print file (resized to 8.5" x 11" at 300dpi - approx. 24 MB) which has been cleaned ready for print (clone or healing brush work on dust, spots & blemishes), create a duplicate file [ IMAGE > DUPLICATE ] and save this new version as fileName_crit1.jpg (or if your file has layers we should see in critique save it as fileName_crit1.psd) AT 72 dpi. Adiitional images will end with crit2.jpg and so on.

2. Double check that your file's working space is ADOBE RGB 1998. If it is not change it to this space before saving. Reference the Document Information space at the bottom left of your file. If the default Document Size is displayed, choose Document Profile by clicking on the arrow to the right of this space.

3. If the profile needs changing, go to IMAGE > MODE > ASSIGN PROFILE and select Working RGB: Adobe RGB 1998 and click OK. Now save.

1. From your master archive print file, create a duplicate file [ Image > Duplicate ] and save this new version as fileName_print1.jpg (or if your file has layers we should see in critique save it as fileName_crit.psd) AT 72 dpi.

2. Double check that your file's working space is ADOBE RGB 1998. If it is not change it to this space before saving (see above).

A. Photoshop 7.0 Levels New Options

1. Open T1_ColorCorr.jpg

2. Select Levels (Command L) or IMAGE > ADJUSTMENTS > LEVELS

3. Select Options and cycle through to the most pleasing effect (check "snap neutral midtones").

4. Select the best visual and make a snapshot of this state. Label this snapshot accordingly (double click on the new snapshot to rename it).

B. Reasonable Assumptions for middle gray, white with detail and black with detail

1. Click on the 'open' snapshot.

2. Select the Color Sampler Tool under the eyedropper.

3. Change from Point Sample to 3 x 3 Average (creates broader sampling)

4. Click on those areas that seem to represent the 3 values listed above (middle gray, white with detail and black with detail). TIP: in the Navigator window select the INFO tab and open options by clicking on the right arrow. Select RGB for first color readout and Grayscale for second color readout. that each sucsessive click has created a new set of data in the info window. Watch the K readout; 50% equals middle gray (in a non-color environment, 95% approx. equals black with detail and 5% approx. equals white with detail.

5. Select Levels and click on the mid-tone eyedropper. Once selected place your cursor directly over the middle gray estimated target; when the cursor disappears, click on that target (make a snapshot and name). Return to 'open' snapshot again, re-select Levels but this time choose the highlight eyedropper and place your cursor over the target on the white shirt (make a snapshot and name). Do the same for Black target and make a snapshot and name. Which snapshot is best?

C. Correcting for the GREEN Channel Values

1. Return to the 'open' snapshot.

2. Select 3 neutral target points (white shirt in detailed area, the background and a shirt shadow).

3. True neutral values have equal numbers of RGB values. Open the color pallette and select points up and down the far left side of the color box. All values selected will probably present equal RGB values (middle gray is 128/128/128; plot those numbers and the cursor will move to middle gray).

4. Here we see that all the target plots have B values that are all much higher than the R or G. Proof this image needs correction.

5. RULE: THE GREEN CHANNEL GENERALLY REPRESENTS THE CLOSEST VISUAL REPRESENTATIONS OF NORMAL TONALITY (LOOKING MOST LIKE A CONTINUOUS TONE BLACK AND WHITE PHOTO).

6. In the Layers window select the Channels tab. Look at the green channel, then the red (looks a bit like infrared photography effects) and the blue channel (often looks the worse and is the channel with the greatest amount of noise).

7. Now, select Curves (command M) or IMAGE > ADJUSTMENTS > CURVES and in the RGB layer click on one of your targets (let's use the neutral shirt shadow) while holding down the command and option keys (this will plot that point on all three channels).

8. The concept is to bring the R and B values up or down to equal the G value.

9. Select the Red Channel and with the up and down arrows, keep tapping until the R number equals the G value.

9. Select the Blue Channel and use the down arrow until B equals the G value.

10. Make a snapshot, name and compare.

11. Repeat this process with the shirt highlight plot and then with the background plot. Which was most effective? Probably the shirt shadow plot. Why?

1. Sharpening techniques are ideal for making actions as they often have multiple steps. Future classes will address several different sharpening strategies specific for output and paper needs, including more complete descriptions of various USM (Unsharp Mask) Techniques. This exercise is designed to demonstrate making actions and generating a comparison on print of this action applied vs. the same file without this action applied.

2. We will create an action on our T2_Sharpen1.jpg file.

3. Download and open this file.

4. Select the Action tab in the History window. Click on arrow in right upper corner and select New Action. In the new window, rename this action as HiPass-Overlay F9 and select pull down the Function Key window selecting F9. Now click the RECORD button and execute this new action.

5. In the Layers window, select and duplicate the background layer (drag to duplicating icon at bottom of window). This generates a new layer which will be on top and actively selected (highlighted). Now select FILTER > OTHER > HIGH PASS. In the new window that opens, select a setting of between 3-5 (often 3 is best) assessing which value eliminates evidence of evidence of color to the greatest degree. Click OK.

6. With this same duplicate layer selected, choose FILTER > SHARPEN > UNSHARPEN MASK and in the window that opens type in 125 / 1.5 / 3. [Future classes will identify the meaning and strategy behind each selection listed here. Click OK.

7. Back to the Layers window, pull down the blending mode to Overlay.

8. In the Actions window (History Pallette) click on the STOP button (square) to complete this new action. From this point forward, you can simply select the F9 function key and this action will play automatically.

8. Back in the History pallette, make a snapshot of this new state. Click between the open file icon and this new snapshot to compare results.

9. Save this new effect (HiPass-Overlay) as T2_SharpenHP_O.jpg.

10. Compare (at 100%) the Soft Light and Overlay blends to decide which effect is better. Save the Soft Light blend as T2_SharpenHP_S.jpg.

11. Drop both files in a new document and print for comparison.

1. Flatten both files and drag each one into a new document (8.5" x 11" @ 300 dpi).

2. FILE > PRINT (COMMAND P); then...

3. Follow class demo relative to which OS you are working on (OS X or OS 9.2)

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