Learn Photo Editing
The most used tool for sharpening is probably straight USM (Unsharp Mask) in Photoshop and nearly all techniques are a variation of it. To get an understanding of the sharpening issues you need to better understand how Photoshop USM works and its inherent limits. Threshold defines how different the sharpened pixels must be from the surrounding area before they are considered edge pixels and sharpened by the filter (see Photoshop Help) and is needed to That is why there are a huge number of different sharpening techniques published (most often based on some edge masking) and many Photoshop plug-ins that try to make sharpening easier.
The user interface of Adobe Camera Raw is clean and easy to use. Its window can be resized up to full screen. The only downside of full screen is that some operations might slow to less than real-time which they display in a smaller window (This depends, of course, on the performance of the computer used). We use a window size that is quite large, and Camera Raw still performs well in virtually realtime. Figure 4-24 Basic Adobe Camera Raw Window Figure 4-24 Basic Adobe Camera Raw Window
The full version of Photoshop provides all of the features of Photoshop Elements, along with some more high-end features that you may or may not need. If you think you might need the ability to prepare images for offset printing, or if you routinely work with high-end 3D imaging, scientific, or video film production software, then Photoshop will be a welcome addition to your toolbox. Otherwise, it's probably overkill for your photo editing needs, and the money you'd spend on the full-blown version of Photoshop would easily pay for Elements and a new lens for your Rebel. If you do install Photoshop CS4, you'll also get Adobe Bridge, an excellent image browser that has its own image transfer features.
Adobe applications are making increasing use of metadata. Both Photoshop file browser or Bridge display some metadata as part of the image icon list and even more as part of the metadata preview window. The (almost) complete range of metadata is displayed, when you call up the File Info window. Using Bridge or the file browser of Photoshop CSi, you may customize which metadata is displayed with the preview icons of the browser and what kind of metadata is visible at the metadata panel of the browser (see figure 10-1 at page 10.6). This configuration (customizing) is done via Edit r Preferences. (Mac Bridge r Preferences). To customize information display with the preview icon, select General. Concerning display, editing and usage of metadata, Bridge, ACR and Photoshop Elements are the most advanced of the set of appli- cations we deal with in this book. Using a digital asset manage- set, with Photoshop file browser or Bridge, you must use the Keywords panel to edit and enter them....
If you've installed Adobe Photoshop Elements 6 or later, when you attach a media card reader or camera to your computer, the Elements 6.0 Photo Downloader will launch automatically. The Photo Downloader lets you choose a location to store your files, and can create subfolders within that location based on the date and timestamp on each image. Photo Downloader can also rename your images from the nonsensical camera names to something more meaningful. Photoshop Elements is a great image editor with all of the features you'll need for almost any image editing task, so if you plan on using Elements for your image editing, you might want to explore Photo Downloader for your image transfers, simply because of its Elements integration.
To convert a number of RAW files efficiently with Photoshop CSi you must create your own Photoshop action. This action should open a file in ACR, apply all settings for the ACR workflow (selecting output Resolution, Depth, color Space, Size, ) start the conversion, make the setting for the target format, and finally save the file using the appropriate (preferred) image mode. Important in file saving is selecting an output file format and various settings for that specific file format. (The following is brief description how to create such an action. For more details, please refer to the Photoshop Help system). How to create an action in Photoshop Photoshop actions are very useful tools to do repetitive tasks. Creating a new action may be as easy as just recording the different Photoshop steps in your task. Thus, an action is a sequence of steps (such as opening a file or setting a new image mode) in Photoshop. Record button shows red if Photoshop is recording an action and green when...
Using the equivalent of an in-camera image-editing program, the T1i adjusts the contrast, color saturation, and color tone in your image, and then finally applies sharpening. These adjustments have nothing to do with any exposure parameters you've chosen they're simply image-editing operations of the same kind you would apply using an image editor such as Photoshop. Earlier, you learned about pixels, and we discussed how you can represent a greater number of colors if you dedicate more bits of memory to each pixel. Basically, with more bits you can count higher, which means you can represent a greater number of colors. The Rebel T1i stores 14 bits of data per pixel, which represents a lot of colors. Unfortunately, the JPEG format supports only 8 bits per pixel, so after all of this image processing, the next thing the camera must do is discard a bunch of its color data. The images is converted from a 14-bit image down to an 8-bit image.
Before beginning to work with Photoshop, set up the program up with your personal color management preferences. The way color settings are made is similar with all Adobe applications since Adobe Creative Suite 1 (CSi). When using CS2, you may use centralized color settings. These settings will be used (by default) by all other CS2 applications, as well. With CS2, the settings may be done in Bridge. Photoshop probably offers the most advanced color management support in any application. For that reason, its color settings show many different options and parameters. Figure 2-10 shows how we set up the Color Settings in Photoshop (the most relevant settings are marked). 1 Figure 2-14 Photoshop color settings Photoshop is not particularly intuitive when it comes to finding the monitor profile in use. To determine which profile is in use, select Edit rColor Settings and use the RGB drop-down list to select working spaces and scroll (usually up) until you find the entry Monitor RGB (Figure...
Looking at a converted image, you may wonder which settings were used for the RAW conversion. By using ACR for the conversion, this is no problem ACR records all settings used in the meta information of the created file. You may recall (view) it in Photoshop by using Photoshop's File Information function (File rFile Info or via Q+ +K+flp-
Figure 7-23 Corrected image using the Photoshop CS2 Lens Correction filter Figure 7-23 Corrected image using the Photoshop CS2 Lens Correction filter The correction in the Photoshop CS2 Lens Correction filter may be not as perfect as in PTLens but in most cases it will perfectly do the job. Remember, in the old days you did not do any correction at all.
The latest version of Photoshop includes a built-in RAW plug-in that is compatible with the proprietary formats of a growing number of digital cameras, both new and old. This plug-in also works with Photoshop Elements. To open a RAW image in Photoshop, just follow these steps (Elements users can use much the same workflow, although fewer settings are available) 2. In Photoshop, choose Open from the File menu, or use Bridge. 3. Select a RAW image file. The Adobe Camera Raw plug-in will pop up, showing a preview of the image, like the one shown in Figure 8.9. Zoom. Operates just like the Zoom tool in Photoshop. Hand. Use like the Hand tool in Photoshop. Crop. Pre-crops the image so that only the portion you specify is imported into Photoshop. This option saves time when you want to work on a section of a large image, and you don't need the entire file. ACR Preferences. Produces a dialog box of Adobe Camera Raw preferences. 11. Click Open Image Open Image(s) into Photoshop using the...
The latest version of Photoshop includes a built-in RAW plug-in that is compatible with the proprietary formats of a growing number of digital cameras, both new and old. This plug-in also works with Photoshop Elements 5.0. To open a RAW image in Photoshop CS3, just follow these steps (Elements 5.0 users can use much the same workflow, although fewer settings are available) 2. In Photoshop, choose Open from the File menu, or use Bridge. 3. Select a RAW image file. The Adobe Camera Raw plug-in will pop up, showing a preview of the image, like the one shown in Figure 8.14. Zoom. Operates just like the Zoom tool in Photoshop. Hand. Use like the Hand tool in Photoshop. Crop. Pre-crops the image so that only the portion you specify is imported into Photoshop. This option saves time when you want to work on a section of a large image, and you don't need the entire file. ACR Preferences. Produces a dialog box of Adobe Camera Raw preferences. 11. Click Open Image Open Images image(s) into...
Image editors are general purpose photo-editing applications that can do color correction, tonal modifications, retouching, combining of several images into one, and usually include tools for working with RAW files and reducing noise. So, you'll find programs like those listed here good for all-around image manipulation. The leading programs are Adobe Photoshop Photoshop Elements. Photoshop is the serious photographer's number one choice for image editing, and Elements is an excellent option for those who need most of Photoshop's power, but not all of its professional-level features. Unfortunately, Adobe's releases of Elements for the Macintosh tend to lag behind the Windows versions. Both editors use the latest version of Adobe's Camera Raw plug-in, which makes it easy to adjust things like color space profiles, color depth (either 8 bits or 16 bits per color channel), image resolution, white balance, exposure, shadows, brightness, sharpness, luminance, and noise reduction. One plus...
Also know that this raw processor isn't your only option. Digital Photo Professional, provided in the Canon software suite, offers its own raw conversion tools. Because that program is designed for the more advanced user, the conversion tools are slightly more complex, but they're also a little more powerful in some regards. Additionally, both Adobe Photoshop and Photoshop Elements offer excellent raw converters. Always save your processed files in a nondestructive format, such as TIFF. (If you use Adobe Photoshop Elements or Photoshop, its format, PSD, is also nondestructive.) If you need a JPEG image to share online, Chapter 9 shows you how to create a duplicate of your original, converted image in that format. i Some raw converters, including the ones in the Canon programs, give you the option of creating a 16-bit image file. (A bit is a unit of computer data the more bits you have, the more colors your image can contain.) Many photo editing programs either can't open 16-bit files...
While far from a Photoshop replacement, Digital Photo Professional is a useful image editing program that helps you organize, trim, correct, and print images. You can make RAW adjustments, correct tonal curves, color tone, color saturation, sharpness, as well as brightness and contrast. Especially handy are the recipes that can be developed and saved so that a given set of corrections can be kept separate from the file itself, and, if desired, applied to other images (see Figure 8.9). Digital Photo Professional will never replace Photoshop, but it has some basic image editing features. Digital Photo Professional will never replace Photoshop, but it has some basic image editing features. While it's rewarding to capture some great images and have them ensconced in your camera, eventually you'll be transferring them to your laptop or PC, whether you're using a Windows or Macintosh machine. You have three options for image transfer direct transfer over a USB cable, automated transfer...
RAW capture allows you to save the data that comes off the image sensor with virtually no internal camera processing. The only camera settings that the camera applies to a RAW image are ISO, shutter speed, and aperture. And because many of the camera settings have been noted but not applied in the camera, you have the opportunity to make changes to settings including image brightness, white balance, contrast, and saturation when you convert the RAW image data into a final image using a conversion program such as Canon's Digital Photo Professional, Adobe Camera Raw, Adobe Lightroom, or Apple Aperture. An important characteristic of RAW capture is that it offers more latitude and stability in editing converted RAW files than JPEG files offer. With JPEG images, large amounts of image data are discarded when the images are converted to 8-bit mode in the camera, and then the image data is further reduced when JPEG algorithms compress image files to reduce the size. As a result, the image...
First, we may need to change a setting in Photoshop General Preferences Changes will take effect the next _ZJ - . time you start Photoshop. Create a new 16-bit RGB document in Photoshop of about 300 x 300 pixels Next select a RAW file in Bridge and place it into the new document by using the Place- Photoshop command in Bridge This will open the Camera Raw dialog in Photoshop Change your RAW settings and confirm with Open . Now you see the image of figure 4-55 in Photoshop CS2 Photoshop available to get back to full size
Some RAW converters help to correct tilt directly (e. g. ACR 3.x and Capture One). For all the others you can easily use Photoshop and especially the CS2 Lens correction filter. If you choose to work with an 8-bit image in Photoshop, doing a correction in the RAW converter has some advantages, due to the 16-bit mode used there. If you prefer to correct it in Photoshop, we would recommend staying in 16-bit mode until the tilt is correct and other corrections are done as well and only convert to 8-bit mode afterwards (Image Mode 8 Bits Channel).
There are several RAW converters available, and their number is increasing over time. Almost all DSLRs come with a native RAW converter. This may be a Photoshop Plug-in or a standalone RAW converter (or both). E.g. Canon cameras supporting RAW format come with Canon EOS Viewer Utility (EVU for short) and Canon Digital Photo Professional (DPP for short) - both applications are a free part of the camera package. If you use Photoshop CS1 (alias Photoshop 8) or CS2 (alias Photoshop 9) or even Photoshop Elements 3 (or later) a good RAW converter is included, as well. If you use a picture database or good picture file browser - also referred to as Digital Asset Management Systems (or DAMS for short), it probably will have a
The slider Exposure allows you to control the proper settings for tonality (you can also use the Curves tool). ACR has a very powerful, unique feature to view possible blown highlights. While you drag the exposure slider, hold down the key and display a threshold view (works like Photoshop Levels).
The saturation slider may make more sense. Often, we'd rather make saturation lower rather than stronger. As explained earlier in the workflow chapter, you should possibly consider a more selective saturation enhancement and then do it in Photoshop.
Photoshop and other applications that support ICC profiles use the profiles to produce colors more accurately, so that colors look consistent when printed or viewed on different devices. Photoshop also uses profiles to convert RGB values to CMYK (a color space used in commercial printing, which stands for Cyan, Magenta, Yellow, Black) and CMYK to RGB, to display photo CD image color more accurately, and to soft-proof an image at different settings so that you can see how the image will look.
It is truly amazing how many defects you can find in an image when you start carefully looking. While some RAW converters help correct certain lens deficiencies, in the end you may choose Photoshop to fix those remaining defects. We dedicate a whole chapter on how to deal with all these different defects (see chapter 7).
The simple image editing facilities of ZoomBrowser allow red-eye correction, brightness contrast and color correction, manipulating sharpness, trimming photos, and a few other functions. For more complex editing, you can transfer images directly from this application to Photoshop or another image editor.
Aside from WB, necessary for good colors exposure, tonality controls are essential in getting Expose compensation a pleasing photographic look to your images. RS has unique controls, and we had to learn how to use them. Most RAW converters support controls that, in principle, are a variant of levels and curves. RS works differently. It actually operates adaptively (pixels evaluated in their scene context, more like the Photoshop Shadow Highlight tool). It may seem more complicated to describe than to actually experience yourself. To get the best from an image, you must find the optimum setting for all four sliders Before using RS, we spent much time achieving the correct tonality for this image (both in the RAW converter and later by masking in Photoshop). Using RS, it took us about 30 seconds (actually ).
Here are four histograms examples (created in Photoshop) that show different characteristics and show histogram basics. Highlights (right side of the histogram) have been lost. This shot would be a candidate for deletion in all but a few rare cases. Some might recommend to burn the photo in Photoshop. Still that is faking details in the highlights that are not actually there. Histogram 2 Histogram indicating potential over-exposure Here the highlights are OK. You lost a bit of the dynamic range in the highlight area but Photoshop can correct for this. You should endeavor to get histograms similar to this. In principle, it is best to get as close as possible to the right without actually touching it.
A little Photoshop blur helps recall the ground-shaking power of yesteryear's locomotives. ISO 100, f 10, 1 125 sec., with an EF 24-70mm f 2.8L USM lens. 12.1 Nostalgia sells. A little Photoshop blur helps recall the ground-shaking power of yesteryear's locomotives. ISO 100, f 10, 1 125 sec., with an EF 24-70mm f 2.8L USM lens.
To see if you have dust on your sensor, take a few test shots of a plain, blank surface (such as a piece of paper or a cloudless sky) at small f stops, such as f 22, and a few wide open. Open Photoshop, copy several shots into a single document in separate layers, then flip back and forth between layers to see if any spots you see are present in all layers. You may have to boost contrast and sharpness to make the dust easier to spot.
At other times, though, your image will have low contrast because of your exposure choice. For example, I shot this image with the camera's suggested metering and then looked at the histogram. (For the sake of clarity, I'm showing a histogram from Photoshop, but you'll see the same information on the T1i histogram.)
But the program isn't designed for serious photo editing. For one thing, you can't perform selective editing meaning, changing only the part of your image that needs help. And you don't get any tools for removing flaws such as blemishes in portraits and the like. So my recommendation is that you consider the browser as a good, free tool for organizing your photos and doing simple picture fixes. But if you find yourself doing a lot of photo editing, invest in something more capable. Here are just some of the products to consider i Beginning consumer programs Unless you're retouching photos for professional purposes or want to get into photo editing at a serious level for other reasons, a program such as Adobe Photoshop Elements ( 100, www.adobe.com) is a good fit. Elements has been the best-selling consumer photo editor for some time, and for good reason. With a full complement of retouching tools, onscreen guidance for novices, a built-in photo organizer, and an assortment of tools...
By default, pictures are stored in the My Pictures or Pictures folder in Windows and in the Pictures folder on a Mac. You can put your images anywhere you like however, most photo editing programs look first for photos in those folders, so sticking with this universally accepted setup makes some sense.
After image capture but prior to the recording stage, camera image processing determines how the signals from the sensor are translated into a viewable image. In Canon dSLRs, this function is performed by the DIGIC Image Processor chip. The DIGIC II Image Processor provides quick but high-quality image processing, as well as enhanced color and white balance, and optimized camera performance all with relatively low power requirements. Newer Canon dSLRs feature the new DIGIC III Image Processor with even better performance.
Workflow is the process of converting and editing images in a logical and consistent manner. The overall concept of workflow begins with image capture by setting image quality, the color space, and type of capture. Then it continues with RAW image conversion ensuring that the image quality settings and color space remain consistent in the conversion program, editing the image in image-editing software, and, finally, printing the image. or open them in Photoshop or another image-editing program for additional editing. create JPEG versions of the images for your Web site and if you use Photoshop, you can use an action to make and automatically size images for the Web and save the images in a separate subfolder. Finalize images. With the final selections made, you can do the final image editing in Photoshop.
Finally, the raw file is truly like a negative. It's simply raw data, and the final image that results from that data depends on the software you use to process it. Raw conversion software is improving all the time as imaging engineers discover new algorithms and refine old ones. This means that years from now you might be able to reprocess the same raw files in a newer raw converter and get better results. In the short term, this also means you can process the same image in different ways to get very different results. For example, you might process the image one way to produce a very warm result and another way to produce something much cooler. By processing the raw file in different ways, you can achieve very different adjustments without using up any of your image-editing latitude.
Taking the picture is only half the work and, in some cases, only half the fun. After you've captured some great images and have them safely stored on your Canon Digital Rebel XTi's memory card, you'll need to transfer them from your camera and Compact Flash card to your computer, where they can be organized, fine-tuned in an image editor, and prepared for web display, printing, or some other final destination.
Depending on your situation, you won't necessarily have an in-camera fix for this problem. For example, if you're shooting a stage that's lit by lights that change color, then there's no way to get a manual white balance. Or, perhaps you're shooting far enough away from your subject that you can't get a white balance card into the scene to pull off manual white balance. In these situations, your best bet might be to try to fix color in your image editor. Shooting in raw will make this process much easier, as you'll see later.
If you prefer to print your own pictures on a home or office printer, the process is much the same as printing anything from your computer You open the picture file in your photo software of choice, choose FileOPrint, and specify the print size, paper size, paper type, and so on, as usual. In both cases, your image opens in Trim Image editing window, shown in Figure 9-6, which contains some of the controls that you see when you use the program's editing functions. Chapter 10 details the Trim Image editing controls, but here's the short story Although it's fine for casual printing, Photo Print lacks some features that are typically found in most photo editors and even in the software that ships with most photo printers. You can't print multiple images on the same page, for example, or even multiple copies of the same photo. So if you own other software, you may find it more convenient than using the browser's print functions.
Depending on what kind of Mac you have and when you bought it, you might have a copy of iPhoto, Apple's image organizing and editing program. iPhoto is very good, and can handle the transfer of images from your media card, as well as help you with the rest of your photographic workflow, from organizing to editing to output. iPhoto is part of Apple's iLife suite, and it comes bundled on many new Macs. If your Mac doesn't have it, you can buy the latest version from any vendor that sells Apple products. Whether or not you have iPhoto, every Mac ships with a copy of Image Capture, a small utility that helps manage the transfer of images into your computer. Image Capture has no editing or organization features its sole purpose is to get images copied onto your hard drive. Once they're there, you can decide what to do with them. If you installed the Canon EOS Digital Solutions disk, then you'll have some additional software on your Mac, which we'll take a look at later in this chapter. You...
Highlight Tone Priority (HTP) is available with many current EOS models, including the 5D Mark II. HTP has no effect on the actual dynamic range of the image sensor. It's just an alternative method of image-processing that preserves more highlight detail than Canon's standard processing without significantly altering midtones or shadows. The effect of HTP is driven by the Canon 14-bit A D converter, which provides finer tonal gradations than the previous 12-bit system. Enable HTP to control detail in highlight areas, but pay attention to the shadow areas because noise may increase there with this function turned on. Also, the available range of ISO speed settings is automatically limited to 200-6400 when it's on. HTP affects RAW data as well as in-camera JPEGs, and it's very useful in high-key outdoor shooting conditions, such as weddings, high school senior portraits, and aerials.
On the other hand, if you're a color purist, will be editing your photos, making your own prints, or all of the above, experiment with Adobe RGB. For the record, this is the route that I go because I see no reason to limit myself to a smaller spectrum from the get-go. However, do note that some colors in Adobe RGB can't be reproduced in print the printer substitutes the closest available color when necessary. Additionally, you'll need photo software that offers support for Adobe RGB as well as some basic color management
By default, the menu will list iPhoto (if you have it), Image Capture, and possibly other applications if you have them installed. If you have a program installed that you'd like to use but don't see it listed, choose Other Image Capture will present you with a dialog box that allows you to pick the program you'd like to use.
Be careful about increasing saturation too much, however. Doing so actually can destroy picture detail as areas that previously contained a range of saturation levels all shift to the fully saturated state. In fact, you can often reveal detail by lowering saturation a little in your photo editor. For example, compare the original (left) and desaturated (right) versions of the image in Figure 10-10. Notice that the subtle gradations of color in the flower petals become apparent only in the right, slightly desaturated version.
Wide-angle lenses are a staple in architectural photography. When you use a wide-angle lens, and especially when the camera is tilted upward, the vertical lines of buildings converge toward the top of the frame. You can correct the distortion in an image-editing program, or you can use a tilt-and-shift lens, such as the Canon TS-E24mm f 3.5L, that corrects perspective distortion and controls focusing range. Shifting raises the lens parallel to its optical axis and can correct the wide-angle distortion that causes the converging lines. Tilting the lens allows greater depth of focus by changing the normally perpendicular relationship between the lens's optical axis and the camera's sensor.
This function is an automatic exposure adjustment that corrects overly dark, or underexposed, images and boosts the contrast in low-contrast scenes such as those in hazy or overcast light. However, just as in an image-editing program, when you brighten underexposed images, any digital noise that is present is revealed. The same effect may result from using Auto Lighting Optimizer. While you can turn off this function for shooting in Creative Zone modes, you cannot turn it off for images shot in Basic Zone shooting modes such as Full Auto, Portrait, Landscape, and so on. Also, if you're shooting in P, Tv, Av, or A-DEP mode, automatic lightening is not applied to RAW or RAW+Large JPEG images. And the function is not applied if you're shooting in Manual shooting mode.
Photoshop and other applications that support ICC profiles, use the profiles to produce colors more accurately, so that colors look consistent when printed or viewed on different devices. Photoshop also uses profiles to convert RGB values to CMYK (a color space used in commercial printing) and CMYK to RGB, to display photo CD image color more accurately, and to soft-proof an image at different settings so that you can see how the image will look.
Truth be told, I rarely shoot with red-eye reduction turned on because of the time it takes before being able to take a picture. If I am after candid shots and have to use the flash, I will take my chances on red-eye and try to fix the problem in my image-processing software. The Canon Image Browser software that comes with your T2i has a red-eye reduction feature that works really well.
The color saturation and sharpness are much more subdued, but this leaves a good deal of latitude for RAW conversion tweaks and editing in Photoshop. 4.14 Portrait Picture Style. The color saturation and sharpness are much more subdued, but this leaves a good deal of latitude for RAW conversion tweaks and editing in Photoshop.
For example, if you're taking a portrait, ask the subject to hold the gray card under or beside his or her face for the first shot, then continue shooting without the card in the scene. When you begin converting the RAW images on the computer, open the picture that you took with the card. Click the card with the white balance tool to correct the color, and then click Done to save the corrected white balance settings. If you're using a RAW conversion program such as Adobe Camera Raw or Canon's Digital Photo Professional, you can copy the white balance settings from the image you just color balanced, select all the images shot under the same light, and then paste the white balance settings to them. In a few seconds, you can color balance 10, 20, 50, or more images.
KBEff Before you move on, though, I want to clear up one common point of confusion You can use Canon's software to download and organize your photos and still use any photo editing software you prefer. And to do your editing, you don't need to re-download photos after you transfer photos to your computer, you can access them from any program, just as you can any file that you put on your system.
Before you move on though, 1 want to clear up one common poJnt of contusion You can use Canon's software lo down load and organize your photos and still use any photo editing software you prefer. And to do your editing, you don't need to re-download photos a Her you transfer pl tos lo your computer, you can access them from any program just as you can any lile that you put on your system.
There really is no substitute for knowing how far and fast to push the ISO settings on the XSi 450D unless you test it at each of the ISO settings and compare the results. To compare the results, view the images at 100 enlargement in an image-editing program, and then compare the shadow areas. If you see grain and colorful pixels where
Adobe's DNG converter runs smoothly and fast. However if you already have dng files in your source folder, DNGC converts them as well, which usually makes little sense. When we tested the converter, dng files could be opened by Photoshop CSi (aka PS 8) and Photoshop CS2 (aka PS9). As of this writing, Ci and Raw Shooter, Nikon Capture 4.1, Canon Digital Photo Professional and Bibble did not support DNG. Many Viewers and DAMS (Digital Asset Management Systems) supporting RAW files did support DNG (e.g. ThumbsPlus, Extensis PORTFOLIO, iView Media Pro), but an updated version of 9-8 their RAW converter plug-ins may need to be downloaded. Converting from a proprietary RAW format to DNG is clearly an additional step in your workflow. DNGC does not yet support hot folders (watched folders). So, each time new RAW files are imported, you must call up DNGC. This may become automated using a script, but you still have to deal with them. Until now, all RAW formats supported by DNGC are also...
Because you have access to the metadata in Adobe Bridge, Photoshop, Canon Digital Photo Professional, and other editing programs, you can batch rename files to include the date in the filename. File-naming strategies vary by photographer, but most strategies incorporate the date in both folder and file naming.
2.12 This image was taken in theater-type light at ISO 1600. During image editing, I used Curves in Photoshop CS3 to bring up the brightness. Brightening shadow areas is a recipe for revealing ugly noise, but this ISO 1600 image made a fine 8-x-10-inch print without objectionable levels of digital noise. Exposure ISO 1600, f 2.8, 1 100 sec. using an EF 24-70mm f 2.8L USM lens. Banding. This type of noise is more camera-dependent and is introduced as the camera reads data from the image sensor. It becomes visible in the shadow areas of images made at high ISO settings. This type of noise is visible when shadow tones are lightened during image editing.
The Canon Automatic Sensor Cleaning mode does a good job each and every time you turn your 5D Mark II on or off. In Power-up, Power-down, or Manual settings, the Self-Cleaning Sensor Unit uses high-frequency vibrations to shake off lingering dust, and for the most part, this works well. There's some concern that this might also just move the dust around in the chamber, only to land somewhere else. It's a good start, and as photographers know, locations are difficult enough on gear, none more so than keeping your sensors clean. It's either that or consider spending way too much time in Photoshop with the Clone and Patch tools to delete the spots.
The color space menu choice applies directly to JPEG images shot using Creative Zone exposure modes (P, Tv, Av, M, and A-DEP). When you're using Basic Zone modes, the T2i uses the sRGB color space for all the JPEG images you take. RAW images are a special case. They have the information for both sRGB and Adobe RGB, but when you load such photos into your image editor, it will default to sRGB (with Basic Zone shots) or the color space specified here (for Creative Zone pictures) unless you change that setting while importing the photos. (See the Best of Both Worlds sidebar that follows for more information.)
Between the capture and recording stages is image processing that determines how the signals from the sensor are translated into a viewable image. The processing function is performed by the DIGIC III Image Processor. The speed comes from the combination of the new DIGIC III processor, DDR SDRAM (double data rate, synchronous dynamic random access memory) high-speed memory, four-channels per line sensor readout, and two separate motors for shutter and mirror operation. DIGIC III's signal processing speed is 1.7 times faster than DIGIC II processors. finer gradations. If you shoot RAW capture, you can then use a conversion program such as Canon's Digital Photo Professional, Adobe Lightroom, or Adobe Camera Raw to process and save images as 16-bit TIFF images to get the maximum range of colors offered with 14-bit processing. In addition, if you shoot JPEG capture, the 8-bit files are rendered from the 14-bit RAW data resulting in fewer blown highlights and finer gradation. With highly...
While you can often recover poorly exposed photos in your image editor, your best bet is to arrive at the correct exposure in the camera, minimizing the tweaks that you have to make in post-processing. However, you can't always judge exposure just by viewing the image on your 40D's LCD after the shot is made. Nor can you get a 100 percent accurately exposed picture by using the 40D's Live View exposure simulation feature described in Chapter 3. Ambient light may make the LCD difficult to see, and the brightness level you've set can affect the appearance of the playback image.
Many photographers wonder why they should work with DPP when other, more common programs like Adobe Camera RAW within Photoshop, can make an image conversion from RAW to Tiff or Jpeg, then place it on the desktop for more intense image manipulation. The answer is very simple and sublimely logical Canon's RAW conversion software was built for Canon files only. Since Canon does not share its Both programs, Photoshop and DPP, can make a conversion from a RAW file without making any other changes beyond what the conversion software sees when the file is selected. Smart photographers, who take the time to calibrate their light meters to their camera equipment, use the correct White Balance settings or who take the time to test the automated settings (such as Av or Tv) and make any necessary exposure adjustments via Exposure Compensation, can produce files that are as close to perfect as possible. These files may require no further manipulation other than conversion from RAW to Tiff or...
This provides quick access to the menu when you want to use AEB to take a series of images that will later be composited in an image-editing program. This option displays the last accessed menu with the last highlighted menu option, making it easy to access the AEB setting on the Shooting (red) menu.
But today, AEB is also used for image compositing where you take three different exposures of a high dynamic range scene, and composite them in an image-editing program to produce a final image that offers the best of highlight detail, midtone, and shadow detail. Using this technique, photographers can produce a final image that exceeds the range of the camera's sensor. Additionally, AEB is a mainstay of High-Dynamic Range (HDR) imaging, which merges three to seven or more bracketed exposures in Photoshop to create a 32-bit image with excellent rendering throughout the tonal range.
Removing red-eye very photographer produces a clunker image now and then. When it happens to you, don't be too quick to reach for the Erase button on your camera. Many common problems are surprisingly easy to fix using the tools found in most photo editing programs. In fact, you can perform many common retouching tasks using one of the free programs provided with your camera. Called ZoomBrowser EX in Windows and ImageBrowser on the Mac, this software offers tools for removing red-eye, adjusting exposure, tweaking colors, sharpening focus, and more.
Occasionally, you may want to use the exact same exposure settings for a series of shots. For example, suppose that you're shooting several images of a large landscape that you want to join together into a panorama in your photo editor. Unless the lighting is even across the entire landscape, the camera may select different exposure settings for each shot, depending on
For photographers without Photoshop, DPP offers a free alternative that works great for select jobs, such as RAW conversion, batch-processing and conversion, sorting, rotating, renaming, and many of the other tasks involved in image management. DPP is continually improved, and updates are always free of charge. Free updates are also available for Picture Style Editor and EOS Utility and are highly recommended following any firmware upgrades. checks to rank your most favorite to least favorite images. There are also Photoshop-style preferences that offer you choices in view settings, tool palette, and color management.
Note Cray cards are specifically designed to render accurate color by providing a neutral white balance reference point that is later used during image editing to color balance images. Once an accurate gray point is established for the image in a RAW conversion program, all other colors in the image automatically fall into place.
Picture styles and white balance are functions that are performed by the camera during the image-processing steps that happen after you take a shot. Because raw files have no processing applied to them, picture styles and white balance choice are less significant. However, the white balance setting you choose is stored in the image's metadata. Later, your raw converter will read this setting and use it as the default white balance for that image. Because white balance in a raw file is completely editable after you shoot, you're free to change it any way you want.
The multiple-image pano has gained in popularity in the past few years this is principally due to advances in image-processing software. Many software options are available now that will take multiple images, align them, and then stitch them into a single panoramic image. The real key to shooting a multiple-image pano is to overlap your shots by about 30 percent from one frame to the next (Figures 7.27 and 7.28). Now that you have your series of overlapping images, you can import them into your image-processing software to stitch them together and create a single panoramic image.
The Premiere Pro architecture enables it to import and export formats beyond the constraints of QuickTime, supporting a wide variety of video and audio file formats and codecs on both Mac OS and Windows. Premiere Pro CS3 added support for output to Blu-ray Disc, MPEG-4, and Flash-based Web sites as well as a time-remapping feature, which is an easy-to-use variable frame rate implementation with support for 24p footage. Premiere Pro also integrates well with Photoshop and After Effects. Photoshop files can be opened directly from Premiere Pro to be edited in Photoshop. Any changes are immediately updated when the Photoshop file is saved and you return to working in Premiere Pro.
In fact, many of the adjustments that Picture Styles apply are pretty subtle, at least to my eye. The impact of any of these settings varies depending on your subject, but on the whole, if you want to make large-scale changes to color, contrast, or sharpening, you're probably going to need to use your computer and photo editing software.
If you choose a high ISO setting, be sure to check for digital noise by zooming the image to 100 percent in an image-editing program. Look for flecks of color in the shadow and midtone areas that don't match the other pixels and for areas that resemble the appearance of film grain. If you detect objectionable levels of digital noise, you can use noise reduction programs such as Noise Ninja (www.picturecode.com), Neat Image (www.neat image.com), or NIK Dfine (www.niksoftware.com) to reduce it. Typically, noise reduction softens fine detail in the image, but these programs minimize the softening. If you shoot RAW images, programs including Canon's Digital Photo Professional and Adobe Camera Raw offer noise reduction that you can apply during RAW conversion.
If you choose Adobe RGB for Creative Zone modes, image filenames are appended with _MG_. While the 40D does not embed the color, or ICC, profile in the file, you can embed the profile using Photoshop 6.0 or later. Then the color space information can be read by other devices such as monitors and printers that support ICC profiles.
This is mainly used for commercial printing and other industrial uses. This setting is not recommended if you do not know about image processing, Adobe RGB, and Design rule for Camera File System 2.0 (Exif 2.21). Since the image will look very subdued with sRGB personal computer environment and printers not compatible with Design rule for Camera File System 2.0 (Exif 2.21), post-processing of the image with software will be required.
In general terms, a dynamic range is the range of highlight to shadow tones as measured in f-stops in a scene. In practice, you have to factor in the useable range by considering the effect of digital noise. If, for example, during image-editing, using a tonal curve adjustment in Photoshop or some other image-editing program brings up the details in the shadow areas, it also makes digital noise (which is most prevalent in the shadows) more visible. In addition, the grain size of noise also impacts how noticeable the noise appears. So, considering these factors, there's a point at which this noise becomes intolerable and limits your ability to make high-quality enlargements from the image.
There is something timeless about a black and white portrait. It eliminates the distraction of color and puts all the emphasis on the subject. To get great black and whites without having to resort to any image-processing software, set your picture style to Monochrome (Figure 6.10). You should know that the picture styles are automatically applied when shooting with the JPEG file format. If you are shooting in RAW, the picture that shows up on your rear LCD display will look black and white, but it will appear as a color image when you open it in your Digital Photo Professional software. You can use the software to apply the Monochrome, or any other style, to your RAW image within the image-editing software.
AEB is also used for image compositing where you take three different exposures of a high-dynamic-range scene and composite them in an image-editing program to produce a final image that offers the best of highlight detail, midtone, and shadow detail. Using this technique, photographers can produce a final image that exceeds the range of the camera's sensor. Additionally, AEB is a mainstay of High Dynamic Range (HDR) imaging, which merges three to seven or more bracketed exposures in Photoshop to create a 32-bit image with excellent rendering throughout the tonal range that has to be seen to be believed.
You see, the JPEG file format, as convenient as it is, is what's known as a lossy format. The subtle color variation that was there before compression between some of the pixels is gone forever. The same tiling happens when the Image is recornpressed in a program like Photoshop. After a certain number of compressions decompressions, the image develops artifacts, areas of color that look chunky because the pixels are not transitioning color or tone correctly. Artifacts are most likely to form around areas of sharp focus against a plain bad-ground, such as this chain against a bright sky (see page 22). Once they form, there's nothing that can be done about them, but they're much less likely to be visible in Large files with low compression.
If you're shooting RAW images, the easiest way to ensure accurate color is to photograph a white or gray card in the same light the subject is in and then use the gray card to set color balance when you process the images on the computer. Gray cards are specifically designed to render accurate color by providing a neutral white balance reference point that you can use during image-editing to color-balance batches of images. Once an accurate gray point is established for an image, all other image colors automatically fall into place. For greater control, I like to use the Calibration Targets from PhotoVision that have sections of white, gray, and black. They're utilized in much the same way as standard gray cards.
When you're done shooting, copy your raw files to your computer using whatever technique you normally use for JPEGs. If you're using a version of Photoshop or Photoshop Elements, Aperture, Lightroom, or iPhoto, then you'll be able to work with your images just as if they were JPEGs. The browser functions built into these applications will be able to read the files (assuming they've been updated with T1i support) and display thumbnails. iPhoto, Aperture, and Lightroom let you use the same editing tools that you use for JPEG files when you edit a raw file. However, some of these tools, such as white balance, will have far more latitude on a raw file than they do on a JPEG. These editors will also provide additional tools when working with raw files, such as highlight recovery tools. Consult the documentation that came with your image editor to learn more about editing raw files.
There are many noise reduction choices, and you just have to try them out and see what works best for you. If you use the latest version of DPP (3.4.1 at the time of this writing), the noise reduction is very good. I'm also a fan of Noise Ninja, which you can use in both Photoshop and Aperture. Capture One 4.5 has much improved noise reduction results, to my eye, compared to earlier versions. A new program, Topaz DeNoise, shows great promise of pushing the limit of possible noise reduction.
If you're new to RAW conversion, it is worth noting differences between JPEG and RAW images. With JPEG images, the camera automatically processes the image data coming off the sensor, converts the images from 14-to 8-bit files, and compresses them in the JPEG file format. JPEG is a familiar file format that allows images to be viewed on any computer and to be opened in any image-editing program. By contrast, RAW images are stored in proprietary format, and they cannot be viewed on some computers or opened in some image-editing programs without first converting the files to a more universal file Digital Photo Professional (DPP) is noticeably different from traditional image-editing programs. It focuses on image conversion tasks, including correcting or tweaking white balance, brightness, shadow areas, contrast, saturation, sharpness, noise reduction, and so on. It doesn't include some familiar image-editing tools such as healing or history brushes, nor does it offer the ability to work...
For that kind of retouching work, you need a more sophisticated photo editor. Chapter 8 offers some recommendations. Removing Red-Eye 3. Choose Red Eye Correction from the Edit list. Your photo appears in the Red Eye Correction retouching window. Figure 10-3 shows the Windows version Figure 10-4, the Mac version. Triming Image Colcr Sflohiniii Adjustment Red Eye Correction insert Text Level Adjustment , To Curv* Adjustment,,, Sharpness In Auto mode, the red-eye correction tool can sometimes trip up, correcting red pixels that aren't actually in the eye, so stick with Manual mode, which enables you to specify exactly where you want the program to do its retouching work. The Red Eye Correction window closes, and your repaired photo appears in the Viewer window. tj Like most red-eye removal tools, the Canon version can do a good job in the right circumstances. But if the eyes are very bright, the tool may not be able 1 to make the repair. In addition,...
The Sepia, Blue, Purple, and Green toning effects, on the other hand, all add a color cast to your monochrome image. Use these when you want an old-time look or a special effect, without bothering to recolor your shots in an image editor. You can turn this feature On or Off. When activated, the EOS 40D rotates pictures taken in vertical orientation on the LCD screen so you don't have to turn the camera to view them comfortably. However, this orientation also means that the longest dimension of the image is shown using the shortest dimension of the LCD, so the picture is reduced in size. You have three options, shown in Figure 3.20. The image can be autorotated when viewing in the camera and on your computer screen using your image editing viewing software. The image can be marked to autorotate only when reviewing your image in your image editor or viewing software. This option allows you to have rotation applied when using your computer, while retaining the ability to maximize the...
Remember that if you shoot RAW, you can specify the white balance of your image when you import it into Photoshop, Photoshop Elements, or another image editor using your preferred RAW converter. While color-balancing filters that fit on the front of the lens exist, they are primarily useful for film cameras, because film's color balance can't be tweaked as extensively as that of a sensor.
Digital Photo Professional (DPP) Ver.2.1 is a high-speed RAW image viewing editing program, using Canon's own powerful algorithms, which yield the highest quality .CR2 RAW conversions of any application, regardless of cost, and it's free. Interestingly, the current 2.1 version not only adds support for the EOS 30D but also retroactively extends support back to the EOS D6000 and EOS D2000 from 1998 with the use of specialized data conversion software that transforms the .TIF files to .CR2. (Canon added EOS D30 compatibility with DPP 2.0.) As with the latest EOS Digital SLRs, Picture Style settings can then be applied to the RAW images and a range of current image editing functions can be used. Photographers and studios who have archived images in older recording formats will welcome the opportunity to make higher quality conversions than has ever been possible. Clearly, Canon is continuing to improve its support of RAW images for a growing range of EOS DSLRs. ZoomBrowser EXVer.5.6 (for...
Although RAW image conversion adds a step to image processing, this important step is well worth the time. To illustrate the overall process, here is a high-level task-flow for converting an XSi 450D RAW image by using Canon's DPP. Because both programs are free (provided you have Photoshop CS3 in the case of Adobe Camera Raw), you should try both programs and other RAW conversion programs that offer free trials. Then decide which one best suits your needs. I often switch between using Canon's DPP program and Adobe Camera Raw. When I want to apply a Picture Style to a RAW image, I use DPP. For most everyday processing, however, I use Adobe Camera Raw as a matter of personal preference. Another consideration when you are choosing a program is which program offers the most efficient processing. For example, Canon's DPP allows you to apply conversion settings from one photo to others in the folder, as does Adobe Camera Raw.
10.2 Adobe presents images in Bridge, and from Bridge or Photoshop you can open RAW images in Adobe Camera Raw for conversion. Although RAW conversion programs continue to offer more image-editing tools with each new release, you won't find some familiar image-editing tools in RAW conversion programs, such as healing, history brushes, or the ability to work with layers in the traditional sense. Most conversion programs rightly focus on basic image conversion tasks, including white balance, exposure, shadow control, brightness, contrast, saturation, sharpness, noise reduction, and so on. updates to it are offered free. Third-party programs, however, often have a lag time between the time the camera is available for sale and the time the program supports the new camera. For example, there was a lag time of several weeks between when the 40D was available and the time when Adobe Camera Raw was updated to support 40D files. In the interim, photographers use the Canon conversion program....
To ensure that your monitor is displaying photos on a neutral canvas, start by running a software-based calibration tool. One better-known tool is Adobe Gamma, shown in Figure 9-4, which ships with the Windows version of Photoshop Elements. If you use a Mac, the operating assistant offers a built-in calibrator called the Display Calibrator Assistant. You also can find free calibration software online just search for the term free monitor calibration software. Your printer and photo software are fighting over color management duties. Some photo programs offer color management tools, which are features that enable the user to control how colors are handled as an image passes from camera to monitor to printer. Most printer software also offers color management features. The problem is, if you enable color management controls both in your photo software and your printer software, you can create conflicts that lead to wacky colors. So check your photo software and printer manuals to find...
Bridge is the new file browser by Adobe for the entire CS2 suite. With CS2, Bridge is no longer a module of Photoshop, but is a stand-alone application. In the context of Bridge, ACR plays a special role ACR can be hosted by either Bridge or by Photoshop. Bridge uses Adobe Camera Raw to create thumbnails and preview images for all supported RAW file formats. Preview images are of high quality and 1,024 pixels wide. Single files can be opened into ARC hosted by Bridge or Photoshop. K +rOl opens ACR in Photoshop and K +fRl in Bridge. Except for minor speed differences, it is unimportant where you open ACR.
If a photograph is exposed indoors under warm illumination with a digital camera sensor balanced for cooler daylight, the image will appear much too reddish (see Figure 5.18). An image exposed outdoors with the white balance set for incandescent illumination will seem much too blue (see Figure 5.19). These color casts may be too strong to remove in an image editor from JPEG files, although if you shoot RAW or sRAW you can change the WB setting to the correct value when you import the image into your editor.
9.15 This image shows one of the exclusive lodges in the Seattle area. The lodge is built at the crest of a cliff that leads to a massive waterfall farther down the mountain. I chose to shoot the lodge at early sunset, and then used Curves in Photoshop to bring out the foliage and rock details. Additional Considerations Architectural and some landscape shooting are where the Rebel's 1.6x focal length conversion factor work against you. Having an ultra-wide lens such as the EF-S 10-22mm f 3.5-4.5 USM helps close the gap between the Rebel's cropped sensor and a full-frame sensor. Zoom lenses are helpful in isolating only the architectural details you want while excluding extraneous objects such as street signs. If you use a wide-angle lens and want to avoid distortion, keep the camera on a level plane with the building and avoid tilting the camera up or down. Alternately, you can use a tilt-and-shift lens, or you can correct lens distortion in Adobe Photoshop. midtone areas of the lodge...
Image manipulation tasks fall into several categories. You might want to fine-tune your images, retouch them, change color balance, composite several images together, and perform other tasks we know as image editing, with a program like Adobe Photoshop, Photoshop Elements, or Corel Photo Paint. You might want to play with the settings in RAW files, too, as you import them from their .CR2 state into an image editor. There are specialized tools expressly for tweaking RAW files, ranging from Canon's own Digital Photo Professional to Adobe Camera RAW, and PhaseOne's Capture One Pro (C1 Pro). A third type of manipulation is the specialized task of noise reduction, which can be performed within Photoshop, Adobe Camera RAW, or tools like Bibble Professional. There are also specialized tools just for noise reduction, such as Noise Ninja (also included with Bibble) and Neat Image. Each of these utilities and applications deserves a chapter of its own, so I'm simply going to enumerate some of...
For example, if you installed the Canon software, the EOS Utility window or MemoryCard Utility window may leap to the forefront. Or, if you installed some other program, such as Photoshop Elements, its downloader may pop up instead. On the Mac, the built-in iPhoto software may display its auto downloader. (Apple's Web site, www.apple.com, offers excellent video tutorials on using iPhoto, by the way.) il Nothing happens. Don't panic assuming that your card reader or camera is properly connected, all is probably well. Someone maybe even you simply may have disabled all the automatic downloaders on your system. Just launch your photo software and then transfer your pictures using whatever command starts that process. (I show you how to do it with the Canon software tools later in the chapter for other programs, consult the software manual.)
I The pixel size remains constant, and the printer software adds pixels to fill in the gaps. You can also add pixels, or resample the image, in your photo software. Wherever it's done, resampling doesn't solve the low resolution problem. You're asking the software to make up photo information out of thin air, and the result is usually an image that looks worse than it did before resampling. You don't get pixelation, but details turn muddy, giving the image a blurry, poorly rendered appearance. Figure 9-2 Adding pixels in a photo editor doesn't rescue a low-resolution original. Figure 9-2 Adding pixels in a photo editor doesn't rescue a low-resolution original.
You can also use a Compact Flash memory card reader and software to transfer photos and automate the process using the EOS Utility, Photoshop Elements' Photo Downloader, or the downloading program supplied with some other third-party applications. This method is more frugal in its use of your 40D's battery and can be faster if you have a speedy USB 2.0 or FireWire card reader attached to an appropriate port. The installed software automatically remains in memory as you work, and it recognizes when a Compact Flash card is inserted in your card reader you don't have to launch it yourself. With Photoshop Elements 6.0's Photo Downloader, you can click Get Photos to begin the transfer of all images immediately or choose Advanced Dialog to produce a dialog box like the one shown in Figure 8.12, and then select which images to download from the memory card by marking them with a check. You can select the photos you want to transfer, plus options such as Automatically Fix Red Eyes. Start the...
The HDR (high dynamic range) merge technique can play a huge role in extending dynamic range. With the 1Ds Mark III, you can set an exposure bracket sequence, fire the images as quickly as keeping the camera vibration-free will allow, and then use the Merge to HDR feature in Adobe Photoshop. For landscape work, this is a real option and brings the 1Ds Mark III back into contention in terms of handling images with wide tonal range. The Highlight Shadow adjustment in Photoshop acts almost as a virtual HDR. By moving the shadow or highlight sliders, you can raise shadow values as well as lower highlight values. As long as detail is there to begin with, this can make quite a difference. When the detail doesn't exist, of course, you should have shot a bracketing sequence with HDR. Often more detail is there, lurking within shadows and highlights than you think, however, as in figure 12.4 where the Shadow Highlight tool, along with other techniques, was used to raise the shadow values in...
This section comes with a warning attached. All of the techniques and topics up to this point have been centered on your camera. The following two sections, covering panoramas and high dynamic range (HDR) images, require you to use image-processing software to complete the photograph. They are, however, important enough that you should know how to correctly shoot for success, should you choose to explore these two popular techniques.
One of the most difficult photo problems to correct in a photo-editing program is known as blown highlights in some circles and clipped highlights in others. In plain English, both terms mean that highlights the brightest areas of the image are so overexposed that areas that should include a variety of light shades are instead totally white. For example, in a cloud image, pixels that should be light to very light gray become white due to overexposure, resulting in a loss of detail in those clouds.
Many photo-editing and cataloging programs offer a tool for creating digital slide shows that can be viewed on a computer or, if copied to a DVD, on a DVD player. You can even add music, special transition effects, and the like to jazz up your presentations. If you want to share more than a couple of photos, consider posting your images at an online photo-album site instead of attaching them to e-mail messages. Photo-sharing sites such as Shutterfly, Kodak Gallery, and Picasa all enable you to create digital photo albums and then invite friends and family to view your pictures and order prints of their favorites. But if you just want a simple slide show that is, one that just displays all the photos on the camera memory card one by one you don't need a computer or any photo software. You can create and run the slide show right on your camera. And by connecting your camera to a television, as outlined in the next section, you can present your show to a whole roomful of people.
You see, the jpeg file format, as convenient as it is, is what's known as a lossy format. The subtle color variation that was there before compression between some of the pixels is gone forever. The same thing happens when the image is recompressed in a program like Photoshop. After a certain number of compressions decompressions, the image develops artifacts, areas of color that look chunky because the pixels are not transitioning color or tone correctly. Artifacts are most likely to form around areas of sharp focus against a plain background, such as this chain against a bright sky. Once they form there's nothing that can be done about them, but they're much less likely to be visible in Large files with low compression (FIGS 1.19 and 1.20). On the other hand, should you want the versatility of RAW but need a quick reference for an image catalog, you might want to shoot RAW + Small (Normal). It will be easy to use the Small jpegs in Canon's Image Browser or other programs such as...
Additional Considerations Use the lowest ISO possible to avoid digital noise. In most landscape and nature photos, extensive depth of field is the best choice. Meter for the most important element in the scene, and bracket to ensure the best overall exposure or to composite multiple images in an image-editing program.
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