Mastering Digital Images:

Capture — Process —Display — Sell

By Al Judge

Prescott Valley, Arizona

Copyright © 2017 by Al Judge

Table of Contents
Introduction – GETTING STARTED
My Story
My goals
Topics
Some things that you should know
What Can I Expect to Gain from Reading this Book?
Accelerate Your Learning Curve
Understanding What It Takes
Food for Thought

PART I — Capturing Images

Chapter 1 – UNDERSTANDING DIGITAL IMAGES

The TV Analogy
Moving Pictures and Light Retention
Colored Light vs. Pigments
Adding Color & Clarity to TV
Digital Camera Sensors
Color Space & Gamut
A Quick Review

Chapter 2 – UNDERSTANDING THE LANGUAGE OF DIGITAL PHOTOGRAPHY

Pixels and Resolution
Compression, Interpolation, and Resampling
To review
Types of Digital Images
Processing RAW Files
Metadata and Sidecar Files
Quick review:
The Binary System
Understanding 8-bit and 16-bit color
More about File Formats

Chapter 3 – ACQUIRING THE PROPER EQUIPMENT

Cameras
Lenses
Tripods
Backpacks and Camera Bags
Filters
Hoods
Auxiliary Flash Attachments
Specialty Items – GPS, Tethered Capture, and More

Chapter 4 – DEVELOPING SKILL BEHIND THE CAMERA

Understanding the Abilities and Limitations of your Equipment
Create Challenges
Photographic Basics – Focal Length, F-stop, Depth of Field
Proper Exposure
ISO Setting
Setting and Adjusting White Balance
Use a Tripod
Take Care when Changing Lenses
Buy a Book about Your Camera
Additional Reading

PART II — Processing Images

Chapter 5 – COLOR MANAGEMENT

Working with Virtual Images
Calibrating and Profiling Your Monitor
More about White Balance
Using Color Charts for Color Management

Chapter 6 – PHOTOSHOP SOFTWARE

What is Photoshop?
Understanding Your Photoshop Options
Photoshop Elements
Photoshop Elements – Selection, Layers, Masks, Healing, and Cloning
Photoshop Lightroom – Organization, File Management, and More

Chapter 7 – SPECIALTY SOFTWARE AND PLUG-INS

NIK Software Plug-ins
OnOne Software
Topaz labs
Photomatix Pro
DxO OpticsPro 11
Apple Aperture
MacPhun Software

Chapter 8 – OPTIMIZING YOUR WORKFLOW

PART III — Displaying Images

Chapter 9 – DISPLAYING YOUR DIGITAL IMAGES

Printers
Outsourcing Printing
Print Materials
Framed Prints
Web Images
Photo Books
Slideshows
Pixoto.com

PART IV — Selling Images

Chapter 10 – CHOOSING A PHOTOGRAPHIC SPECIALTY

Chapter 11 – PRICING FINE ART PHOTOGRAPHY

Chapter 12 – CREATING A WEBSITE

Chapter 13 – JOINING FLICKR

Chapter 14 – ADDITIONAL RECOMMENDATIONS

CONCLUSION
Introduction
GETTING STARTED

My Story

I had over 25 years of experience with film photography before I reluctantly transitioned to
digital images. I didn’t believe that digital could ever match the quality of film. When I first
started taking photos with a digital camera I set it on automatic mode and used it as a point and
shoot camera. This resulted in an experience that only reinforced my belief in the inherent
inferiority of digital photography.

As technology improved and digital cameras began to dominate the market, I started to rethink
my decisions. From studying the work of Ansel Adams and other masters, I knew that more
could be achieved in the darkroom than behind the camera. In spite of this knowledge I was
never willing to work with the chemicals of the darkroom. This left me at the mercy of others to
develop the image the way that I wanted it. I tried many labs before I found one that I liked.
Even then the process of getting the image that I wanted was time consuming and expensive.
There was no way to convey exactly what I hoped to achieve. Digital Photography offered a
way around this issue since all image processing is done on a computer using photo editing
software.

The thought of having greater control over the end result and the savings that would result from
not having to develop and print every image were motivation enough to get more serious about
digital photography. I purchased a DSLR camera and started taking photos. The images were
good but still not what I had hoped for. As I reviewed the Owner’s Manual it became clear that
the transition to digital would require more effort than I had previously imagined.

I purchased several highly rated books on digital photography as well as some photography
magazines and began reading. Every book and article that I read contained terms like white
balance, HDR, layers, filters, acid-free, blend modes, RAW format, selections, clipping,
exposure bracketing, ACR, 16-bit color, Gicleé, archival-quality, exposure compensation,
posterizing, NG filters, and color space. None of these terms were defined. It was just taken for
granted that the reader would understand this new technical language. I often found that I had to
read about an aspect of photography from several sources before I could make enough
connections to fully comprehend the issues involved.

With each one of these experiences, I became more and more aware of how little I knew about
digital images. I soon realized that, as good as my images were, they could be much better if I
really understood the entire process of creating a great digital image from camera-to-print.

With each new revelation I realized how that information could have helped me in the past and
wished that I could start over – retaking all of my favorite images, but this time with a greater
appreciation for the details of photographic craftsmanship.
Eventually, I placed all my current images in an archives file and started fresh, knowing that I
would return to my past work and improve image quality as I gained greater skill as a digital
photographer.

My desire is to save you from the same laborious and sometimes frustrating process of learning
that I experienced. Most professionals don’t remember what it was like to be an amateur
photographer. They have become so adept at the language of the trade that they often add
confusion to the process by using terminology that most novices don’t understand.

When I decided to enter my first photo contest, I discovered that I didn’t know enough to even
fill out the application. Later, I went to a camera shop for some advice. The first question the
salesman asked me was “is that a full-framed camera?” I didn’t have a clue what he was talking
about. My frustration only increased when he was unable to explain the difference between a
full-framed camera and a cropped-frame camera.

I also made a number of mistakes that seriously affected my images because I just didn’t know
any better. I was always changing lenses in the field and eventually ended up with dirt on the
sensor that showed as dark spots on every photo. I sought advice and was told many things that
were just wrong.

I routinely changed the size of my images in Photoshop without realizing how that was affecting
my image quality. I used auto-modes on my camera. I spent a great deal of time trying to decide
if I should get my prints from Wal-Mart, Costco, or Staples. A little knowledge resolved all
these issues.

As I learned new things, I began to write summaries of my experience so that I could pass the
information on to others without forgetting what I didn’t know when I was in their shoes. If I did
a good job, I should be able to pass my knowledge on without overwhelming my readers.

My goals for this book are:

· To save you a great deal of time, effort and money by avoiding some of the misdirected
expenses and activities that I chose.
· To educate you about the details of digital photography without intimidation or
confusing terminology – all terms will be clearly defined and explained.
· To significantly accelerate your photographic learning curve.
· To help you take better pictures and know why they are better.

Topics

This book is divided into four parts in order to present this very complex topic in a manageable
format. Some of the questions to be answered in each part are:

Part I — Capture the Image

What is a Color Space and why should I care?
How are digital images created and how do they change as they move from camera to printer?
What is the RAW format and why do I need it?
Why is 16-bit color better than 8-bit color?
Why are there so many image formats – Jpeg, Tiff, RAW, DNG, etc.?
Which format should I use and why?
What is Resolution and how is it related to Pixels and Dots?
What equipment do I need and why do I need it?
What are the most important things that I need to know about using my camera?
What do I need to know and what skills do I need to develop in order to create better images?

Part II — Processing the Image

What is Color Management?
How do I calibrate my monitor?
What is Profiling and why do I need to know?
What is White Balance?
Why is it important to establish an organizational system for storing and retrieving photos?
What does Workflow mean and why should I care to learn about it?
Why do I need to edit my photos?
What software do I need to do basic photo editing?
What other software should I know about?
How do I enlarge my photos without losing details?

Part III — Displaying the Image

What kind of printer do I need?
What brands are best?
What is Gicleé on Canvas?
What are Metallic Prints and why would I want one?
What do I need to know about printing supplies – paper and ink?
How do I prepare my images for the Internet?

Part IV — Selling the Image

How do I choose a Photographic Specialty?
How do I price Fine-Art Photography?
What is the best software for creating websites?
What about Flickr and other similar websites?

Some things that you should know

Most images and charts in this book are hyperlinks. Just move your cursor over the image to
reveal the link.

If you use the Kindle App on your laptop or desktop, the images and charts will be much easier
to see.
The following conventions were used throughout the book:
ALL CAPS/BOLD signifies an important term that requires definition and discussion. This
should make it easier to find these terms and the discussion if you need to refresh your memory.
There are also a number of terms that are always caps, i.e., RAW & HDR.

Initial Caps signify special terms.

Bold italics are used to emphasize important points or concepts.

Italics are used for general emphasis.

An active Table of Contents has been included at the beginning of the book for easy navigation.

WHAT CAN I EXPECT TO GAIN FROM READING THIS BOOK?

Accelerate Your Learning Curve

The only difference between film photography and digital photography is the way in which the
images are recorded and processed. This difference, however, has many aspects and a language
of its own.

The experience of traveling to a foreign country is greatly enhanced if you speak the language.
Likewise, your photographic learning curve will be accelerated if you speak the language of
digital photography.

My whole life has been a process of doing things the hard way and then discovering something
that could have helped me to accomplish the same thing with minimal effort. Though much of
the material in this book can be quite challenging if you have no prior knowledge of digital
photography, please trust me when I tell you that this book represents the path of least effort and
maximum efficiency. This is not to say that this is the only information that you need to know,
but rather that it will point you in the right direction.

Understanding What It Takes

When I made the transition from film to digital photography, I was stunned by my ignorance
when I began reading books about digital photography.

Because of my own experience, I have written this book with the assumption that the reader has
a level of knowledge similar to mine at the time that I decided to get serious about digital
photography. For that reason, many of you will already be familiar with certain topics. In spite
of that fact, I have done my best to write a book that is understandable even if you have no
previous experience with photography. Hopefully, this approach will also serve to fill in gaps
for the more experienced reader.

Like most things in my life, transitioning from film to digital photography was a series of false
starts and misdirected activity that eventually lead to a number of “Aha!” experiences that
changed everything.

Though it is not the main topic of this book, my intention in writing it is to take the reader
directly to “Aha!”

FOOD FOR THOUGHT

Digital Photography has some distinct advantages over film photography.

With film photography, you have to take your images somewhere to be developed and it may
take days before you see the prints. When you finally do see your images, it is not likely that
you will remember much about your intentions or the lighting conditions, etc. Also the end
result is more dependent on the photo lab than it is on the photographer. The only way around
this problem is to develop your own images. This requires space, an investment in equipment
and materials, and many hours working with toxic chemicals. It also requires a great deal of
time to learn the art and develop the skills to make a significant difference in the images
processed.

Another problem with film photography is that it is very expensive to develop and print your
images. Most people can’t afford to take thousands of photos just to experiment with
techniques. With film, if you want to send your images to someone, you have to mail them in a
protective envelop or scan them to send them over the internet. The scanning process will cause
some degradation in the image quality. If the image is for a website, the problems are similar.

With digital photography, the cost of taking a thousand photos is the same as taking one photo or
10,000 photos. You can also see your results instantly. If you use a technique called tethered
capture, you can see your results on a large view screen before you even save the image. With
basic computer skills, you can have total control over the processing of you images and your
adjustments are reversible if you use a program like Photoshop.

With digital images, you can send the image anywhere in the world almost instantly or you can
post it to a website. You can also send it to photo labs for high quality prints of many sizes.

If you are like most photography enthusiasts, you will want to upgrade your equipment and
purchase accessory items as your skills improve. This is often the driving force for becoming a
professional photographer — to earn enough money to support your hobby.
A Professional Photographer is someone who has sold his or her photographs or been paid to
take photos to document an event. It doesn’t mean that you have to earn your livelihood from
photography. With that in mind, the fourth part of this book is about selling your work or
services. So please don’t be intimidated by the thought of turning pro. It doesn’t have to be a
major commitment of time or resources.

Overall, digital photography can produce exceptional images with much less effort and expense
than film photography. It also allows the photographer to have total control over the entire
process.
Part I – Capturing the Image
Chapter 1
UNDERSTANDING DIGITAL IMAGES

The TV Analogy

It might be helpful to start our discussion of photography by creating a solid foundation via a
brief technical discussion of digital images since this understanding will affect your ability to
optimize your results. I promise to not bombard you with technical jargon or industry standards
and hold the technical aspects to an absolute minimum.

Let’s start with the first digital images that most of us experienced: TV. When Television was in
its infancy, actors would go to a studio and perform before a live audience. Those performances
were transmitted to households everywhere by means of the TV Camera. Although the
technology has changed, improved, and expanded over the years, the basic principle of operation
is the same for all devices that capture, process, transmit, receive, print, and display digital
images. This includes scanners, copiers, DVRs, DVDs, computers, computer monitors, printers,
cell phones, iPads, and Wi-Fi devices of every description. If you understand how a TV works,
all other digital devices are more understandable no matter the level of technical sophistication.

I have to offer one qualifier before I continue: Technically, TV transmission signals were analog
rather than digital for most of their history, but this distinction is more about the transmission of
the signal than the way in which it was created. The method of transmission is irrelevant to our
discussion and does not change the basic principle of operation. So, if you happen to be a person
who understands the difference between analog and digital, please grant me this poetic license.
It significantly reduces the complexity of the technical discussion while still illustrating the most
important points.

So, imagine it’s 1950, and that you are sitting in your living room and watching your new Black
& White TV with a seven-inch screen. Like most people back then you would have been saying,
“How can they do that?” The answer is surprisingly simple: The TV camera in the studio sees
the image in front of it as a mosaic of small boxes. The camera measures the light intensity at
each box of the mosaic and transmits that information by radio waves to a receiver (TV) that then
uses that same data to light small boxes on the screen in the same relative location with the same
relative intensity. The result is a black & white image of what the TV camera witnessed at the
TV Studio. Although significantly over-simplified, this is nevertheless all that you need to know
about creating and transmitting a digital image.

Moving Pictures and Light Retention

So how does digital technology make a moving picture rather than a still picture? Again, the
answer is fairly simple and straight forward: The camera would start scanning the view area at
the top left corner and move across the top line of mosaic boxes, stopping briefly to measure the
light intensity and tone at each box. It then moved to the second row and did the same thing and
so on, row by row, until it arrived at the bottom right corner of the image. By moving from box
to box rapidly enough to measure the light intensity and tone of every box 60 times in one
second, it was able to create an image on the TV screens that constantly changed without the
viewer being able to see the individual boxes change.

If you have ever stared at a brightly lit window and then closed your eyes, you probably noticed
the image of the window forming behind your closed eyes. If you concentrate a bit, you might
even be able to “see” some of the details. This retention of light data is critical to the illusion of
moving pictures. Whether the source of the image is a series of light boxes or a series of film
frames, the result is the same. We see the constantly changing images as a smooth progression
because the last image is still being processed by our brains as the next one is presented to us.
Our eyes and brain combine the images to create a continuous image. Light sources that change
at a rate slower than 50 times per second (typical house current in Europe) are noticeably
unstable and irritating to the human eye. In the US we use 60 cycles (times) per second for
house current. This higher frequency is even more beneficial for creating smooth images and
lights that don’t flicker.

Colored Light vs. Pigments

This would be a good time to discuss the difference between COLORED LIGHT and
PIGMENTS (paint and dyes). Most of us were taught in school or by Sesame Street that Red,
Blue, and Yellow are primary colors. While this is correct, it is not the whole story. In order to
understand the role of colors in digital photography, you have to know the rest of the story.

If you have a beam of Red light it means that all other frequencies of light have been eliminated
so that only the Red remains. Because of the way our eyes work, if we combine beams of Red,
Green, and Blue light we see white light which is the sum of all light wave frequencies.

With pigments, the opposite is true: If you have a Red pigment, that material absorbs all light
frequencies except Red, which is then the only color of light reflected back to your eye when a
beam of light strikes the pigment. If you combine pigments of Red, Green, and Blue you will get
black which is the absence of color, since this combination of pigments will absorb all
frequencies of light and therefore not reflect any color.

Any combination of three pigment colors that produces black when added together are primary
colors; for example, Cyan, Magenta, and Yellow are primary colors – in addition to Red, Green,
and Blue – and Red, Yellow, and Blue. The concept of primary colors is not limited to one or
two combinations but to any combination that can produce a wide variety of color variation and
results in black when combined as pigments or white when combined as light.

Some early color films were processed using primary colors that most people have never heard
of. So, primary colors are not absolute, but rather a selection that produces a particular
result.

Adding Color & Clarity to TV

As technology developed, color and clarity were added to the signal transmitted, and receivers
(TVs) with better imaging capabilities were developed, but the rapid scanning of small boxes has
remained at the heart of imaging technologies of many types. The transition to color images was
both magical and, once again, based on a simple concept.

Human eyes sense and interpret colors based on the amount of colored light that strikes the
“cones” behind the retina of our eyes. We have three types of cones. Each type is sensitive to a
different color of light. By combining the input from the three sets of cones, the human brain
creates an image of the object or scene in color. Combining these three “Primary” colors in
varying degrees of intensity and saturation can produce millions of colors. Cones are generally
referred to as red, green, or blue sensing cones depending upon the wavelength of light to which
they are most sensitive.

Imagine that you have three light sources that produce perfect circles of Red, Green, and Blue
light respectively. Also, imagine that the light intensity of all three lights is identical but
variable. Next imagine that the three circles are allowed to overlap against a neutral
background. Where all three circles of colored light intersect, the light would be white. Where
only two colors overlap, the color would be cyan, magenta, or yellow.

If the intensity of one of the light sources were decreased, the colors would change wherever that
light interacted with the other sources. By varying the intensity of all three sources in the proper
amount, we can create any color that the human eye can detect.

If we return to our TV analogy and measure the intensity of Red, Green, and Blue light instead of
shades of gray in our mosaic of small boxes, we now have a method for creating color images.
Likewise, the receiver of the information – the TV – can be modified to display colored light
instead of shades of gray. We now have color TV.

It is also easy to create a larger and more detailed image – High Definition or HD. Just divide
the mosaic into more pieces. The more tiny boxes of light that are sampled and recorded, the
greater the clarity of the image and the larger it can be displayed without becoming fuzzy.

Digital Camera Sensors

In digital cameras, it is no longer necessary to have a mechanism that moves from box to box to
measure a light source because the camera’s SENSOR is actually millions of small sensors lined
up in a mosaic pattern, so that the light from the image that the camera lens produces strikes all
of these individual sensors simultaneously with a great variety of intensity, color, and tone.

Like the TV Camera, each small box within the sensor array records information about the light
source that can then be manipulated and transferred to other digital devices for display. Not
surprisingly, these minute sensors that make up the larger sensor are sensitive to Red, Green, and
Blue light.

Color Space & Gamut

If your brain hurts after reading the next paragraph, please continue on. The other paragraphs
will illustrate the concept. Unfortunately, the first paragraph is necessary to set up what follows.
I haven’t been able to find a way around this, so please hang on. This information concerns
something that you need to set on your camera’s menu, and understanding it will save you from
confusion related to hearsay about the correct choice.

A topic related to primary colors and important to photographers is COLOR SPACE. The
purpose of a color space is to define and measure the performance of cameras, monitors, and
printers. In its simplest form, a Color Space is an agreed-upon range of possible colors that
relates to the design and performance of digital imaging devices. In more technical terms, a
color space is a specified (standardized) range of color variations based on a particular set of
primary colors. The entire range is called the GAMUT. In digital photography there are three
important Color Spaces that you need to know about. They are sRGB, Adobe RGB (or RGB
98), and ProPhotoRGB. All three systems are based on combinations of Red, Green, and Blue.

The color space sRGB has the smallest gamut or range of color variation. It was originally
developed for low-end digital cameras and printers. Why create a camera that can sense more
color variations than a low-cost printer can produce? Likewise, why make a printer that can print
every possible color variation and that almost no-one can afford? This Color Space standard
became the defining factor for the capabilities of low-cost digital cameras and printers. Cameras
are designed to capture all the colors that fall within this gamut, but no more. Likewise printers
designed to this standard can only print colors that are contained within this gamut. This is also
the standard for the internet, thus no webpage can display more than this range of colors. With
few exceptions, this is also the color space for computer monitors.

Adobe RGB was introduced in 1998 for high-end commercial printing presses. It contains the
sRGB gamut, but goes far beyond it to include colors that are more subtle in their variation. At
one time, only the very best cameras and printers could capture and display the Adobe RGB
gamut, but now (2017) even moderately priced cameras and printers can cover this gamut.
Monitors that can display most of this gamut (typically more than 97%) are significantly more
expensive than standard monitors and can cost thousands of dollars. I have seen monitors priced
below $1000 that claim to cover this gamut, but some of the reviews dispute their claims. I am
not aware of any monitor that can display the entire gamut. Most photo printers sold in retail
markets, however, can print this entire gamut.

There is now a trend among some professionals to use the newer and larger gamut of the color
space ProPhotoRGB. This new standard is based on the assumption that sometime in the future,
technology will allow us to display and print even more color and tone variations than we can
now. Currently only high-end cameras can be set to capture all the colors of the ProPhotoRGB
color space. At this writing there are no monitors or printers that can cover this gamut – not even
commercial printers that cost hundreds of thousands of dollars. Professional photographers who
use this color space hope that someday they will be able to reprocess their digital negatives with
advanced software and create images of color depth and detail that are not currently possible.
Many professionals don’t see the value in a color space that can’t be reproduced on a monitor or
printer. How can you work with something so obscure? Why not do the best you can with the
tools at hand until new technology is available? Personally, I think that this is a valid argument.
I use the Adobe RGB color space. This is the choice of most professional photographers and
enthusiasts.

A Quick Review

Though we have a lot more territory to cover, the discussion to this point has been about as
technical as we need to get. So let’s take a minute to absorb all that we have discussed before
moving on.

• A digital image is created by measuring the light color and intensity at each box of a mosaic-
like image and then reproducing individual boxes in another media based on the measured
information. If the boxes are small enough and numerous enough, we can create a very detailed
and striking image.

• The first TV cameras scanned an image to measure light qualities moving from box-to-box and
line-to-line. Digital cameras now have millions of tiny sensors that record the light data to each
box of the image mosaic simultaneously.

• Colored light sources add together to create new colors. White includes all wavelengths of
light.

• Pigments absorb all light waves except the one observed. Black is the absence of color and is
produced by adding enough pigments to absorb all light waves.

•Primary colors create white light when combined as light sources and black when combined as
pigments.

• A Color Space is a standard for defining a range of possible color variations.

• The Gamut of a Color Space is the total size of its range of colors.

• Currently there are three Color Spaces used in Digital Photography. They are all based on the
primary colors of Red, Green, and Blue.

• sRGB has the smallest gamut and is used for the Internet and low-end cameras and printers.

• Adobe RGB is the current standard for most professional photographers.

•ProPhotoRGB is the emerging standard for professional photographers who hope to someday
improve their images with new technology.
Chapter 2
UNDERSTANDING THE LANGUAGE OF DIGITAL
PHOTOGRAPHY

Pixels and Resolution?

Pixels are closely related to the small sensor boxes of the digital mosaic that we discussed earlier,
but confusion can be created by the way the term PIXEL is used. This confusion is easy to clear
up. Understanding pixels is critical to understanding all aspects of digital images.

Earlier we discussed the little boxes of a mosaic-type image that combine to form an image. The
most basic definition of a pixel is that it is one of these boxes – a Picture Element (pix el).
Unfortunately, the term is used in other more subtle ways that can easily confuse and frustrate
the novice.

Let’s look at a typical sensor array in a medium- to high-end digital camera. A common ratio of
the width to the height is 3-to-2. In our case let’s say that the sensor array is 3000 sensors wide
and 2000 sensors high. This means that the sensor array contains 3000 X 2000 sensors or
6,000,000 individual sensors. This number can be correctly identified as 6 megapixels.

By producing one pixel for every sensor, we have an image that is composed of 6 million tiny
mosaic tiles. Since computers typically use 3 bytes of information (one for each primary color –
RGB) for each pixel, the image produced would be 6 million pixels X 3 bytes = 18 million bytes
or an 18 MB image. This example is merely an illustration to explain the overall relationship of
pixels to file size. In actual practice, there is no direct relationship between pixels and file size
because the camera’s core processor will modify the image data according to the current menu
selections and record additional information about the image.

Pixels have no absolute physical size but only exist in the computer until transformed into an
image by a monitor or printer. Actual pixel size at any point in the process is determined by
RESOLUTION, or pixels per inch.

In our previous example, our image was 3000 pixels wide. If our resolution is 100 pixels per
inch, the image will be 30 inches wide and each pixel will be 1/100th of an inch square. On the
other hand, if our resolution is 300 pixels per inch the image will only be 10 inches wide and
each pixel will be 1/300th of an inch square. Resolution is important in viewing images as well
as printing them.

Some people use the term Resolution to indicate the overall size of an image, or its total number
of pixels. Although a larger number of pixels results in a higher resolution for a specific image
size (for example, 8X10), referring to the number of pixels as resolution is incorrect.
Nonetheless, you will often see it used this way by people who should know better.

Compression, Interpolation, and Resampling

Computer monitors have resolutions in the range of 100 pixels per inch. In our previous
example, this would result in an image that is 30 inches wide. Since most monitors are
considerably smaller than that, some decisions have to be made in order to compress the image
to a size that allows the entire image to be seen on the smaller screen. In this case
COMPRESSION is required and the monitor has to discard a lot of the pixels in order to
display the image. This process is called INTERPOLATION and means that the monitor must
replace several pixels with just one pixel and then it has to guess the color data for that new pixel
based on the data of the discarded pixels. This process causes deterioration of the image
quality.

Photoshop uses the term RESAMPLE for this process (interpolation) since the software is
sampling the image in order to make educated guesses about the characteristics of the new pixel
that it is about to create. The generic name for software that is used to modify image size is
INTERPOLATION PROGRAMS.

When printing images, the situation is a bit more complex. For everyday photos, a resolution of
72 pixels per inch is fine, and even low-end printers can handle this resolution easily. For fine
art photography, the resolution should be between 240 and 360 pixels per inch for best results.
High quality printers have a NATIVE RESOLUTION that is optimum.

In most cases this Native Resolution is about 300 ppi (Pixels per Inch) so let’s use 300 ppi for
our discussion. Going back to our previous example, a resolution of 300 ppi would produce an
image that is 10 inches wide by 6.67 inches high. This is the optimum size for the print since
each pixel of the image was produced by one sensor. The need for interpolation is eliminated in
this case and there is no deterioration in the image when it is printed at this optimum size. Any
other size requires manipulation of the image.

This manipulation can be done by the printer and its software, or by more sophisticated programs
like Photoshop. The image quality will be better if done by Photoshop or other specialty
software. Photoshop does a good job of reducing images but there are better programs for
increasing the size of images. We’ll talk more about this later.

One more point about printers. Printers are often rated by dpi or dots per inch. Most people
confuse this with pixels or ppi and use the two terms interchangeably. This is not correct.
Printers create images by spraying short bursts of pigment onto the print media. They normally
spray several “dots” of pigment for each pixel in order to achieve the correct color. Therefore a
printer that has a resolution of 2880 dpi might still be printing 300 ppi.

To review:

• Monitors and other display screens (iPad, iPhone, etc.) have resolutions that produce sharp
images but often have to discard pixels from the source image in order to create the image on the
screen.

• Everyday photos look just fine at a resolution of 72 ppi and can be printed by low-end printers
with good results.

• Fine art images should be printed at a resolution of about 300 ppi. With a 15-Megapixel
camera, this produces an image of 15.9 inches by 10.6 inches without interpolation. Any other
size print requires changing the resolution or resampling by the printer or specialty software.
There is always a loss of detail when an image is resampled but images that are compressed still
look very sharp because of their smaller size.

Types of Digital Images

Now that we have a clear idea of what constitutes a digital image, it might be good to classify
those images by their position in the process of creating an image spanning from CAPTURE to
PRINT.

When you capture an image with your camera the SENSOR records the color and intensity of
the light at each of the millions of individual sensors of the camera’s Sensor. This information is
stored in a file that contains information about the light at each sensor location with three
separate data Bytes for each sensor – Red, Green, and Blue light data. The data is then recorded
in one of two file formats. The RAW file format simply closes the file and retains all the data.
This is the format that every serious photographer should be using. The other option is the Jpeg
format. This file format actually begins to process the image data for you in order to create a
smaller file.

Every digital camera has proprietary software known as FIRMWARE that controls all the
individual functions of the camera such as auto-focus, exposure, and shutter speed. It also
contains the algorithms that instruct the camera on how to convert the RAW image data into a
Jpeg file.

Digital cameras usually also have several Jpeg choices such as small, medium and large images,
as well as degree of detail (standard or fine). Based on the choice that you make, the camera will
begin discarding pixel data in order to create the desired Jpeg file. The smaller the file size
chosen, the more data is discarded. This information is lost forever. For that reason Jpegs are
sometimes referred to as “lossy” file compression. Jpeg files also have a typical resolution of 72
pixels per inch as opposed to 240 or 300 pixels per inch for a RAW file format.

The Jpeg (Joint Photographic Experts Group) algorithm was developed by a group of image
experts for the purpose of creating an image that can be easily transferred over the Internet and
displayed on websites. In order to have images that would load quickly, it was imperative that
they be small files with a low resolution that would be appropriate for the Internet.

Since most monitors have a resolution of 95 to 105 pixels per inch, a resolution of 72 pixels per
inch insured that they could be displayed on most monitors without adjustment. The algorithm
was also designed to discard image detail that is not easily detected at smaller image size and low
resolution. Overall, this produced the possibility of files that were only 5% the size of the
original RAW file with little sacrifice when viewed over the internet. As I stated previously, not
all Jpegs are the same size. This second variable is directed at printing Jpeg images. The larger
the file, the larger the print it can produce with reasonable quality. The highest quality Jpegs are
able to produce fine art images up to a certain size while still reducing the file size.

Your standard format digital camera (35mm style) will normally give you a number of Jpeg
options and 2 RAW file options – RAW alone and RAW plus a high-quality Jpeg. In the latter
case you are creating and storing two files for every image captured. RAW files have to be
converted to a different format for viewing and processing, so the Jpegs can be used to quickly
review and discard some files on the computer before opening the remaining RAW files for
processing.

Processing RAW Files

Every digital camera with RAW format capability comes with proprietary software for opening
and processing RAW files but most of these programs never see the computer drive because
Lightroom and Photoshop (both Adobe programs) do a much better job of processing the
images. We will be talking about Lightroom and Photoshop in greater detail later in the book but
this might be a good time to lay the groundwork and put things into perspective.

Although Photoshop can be used to create images that are fanciful and clearly manipulated, its
primary purpose is to process digital images. It is the digital equivalent of the darkroom that
was so much a part of film photography.

Ansel Adams was, no doubt, a great photographer, but he was also the master of the darkroom.
Much of the quality and impact of his images are due to his craftsmanship in the darkroom.
Every magazine image, book cover, poster, and fine art photographic image that you see has
been “Photoshoped.” The merits of this will become extremely clear as we progress with our
discussion.

Several years ago, Adobe introduced a program that was in some ways a preliminary step to
using Photoshop. It was intended to quickly and easily make the most common adjustments to
photo files and automate the WORKFLOW – another important topic for later in the book. It is
now more popular than Photoshop because it does the most basic and important work so easily.
It also costs much less than Photoshop. The program is called Lightroom (more correctly Adobe
Photoshop Lightroom 6 – the current version).

Returning to our discussion, RAW files must be converted before they can be viewed on a
computer screen. Lightroom does an excellent job of this and gives you the option to save the
converted file as a Digital Negative or DGN file. This should become your master file to be
preserved and filed away while you work with a duplicate DNG file. For this reason, Lightroom
allows you to place a duplicate DNG file on an external hard drive. This drive should be
considered as an archive and safe storage location for Digital Negatives and should never be
accessed except when you need to restore a lost or damaged Digital Negative that has been
processed and stored elsewhere.

DNG files are a “non-destructive” format. In other words, no image data is destroyed in the
conversion process. Lightroom also keeps track of your image files as long as they are never
moved except through the Lightroom software. Again, more on that later. For now, we need to
think about processing our images in Lightroom or a similar program.

Processing means making adjustments that even out exposure, sharpen the image, correct any
color shifts, and generally improve the appearance and “Pop!” of the image. In order to achieve
these results, Lightroom and Photoshop modify individual pixel data – they do not discard pixels
unless the image is “Resampled” or “Interpolated” (synonyms for changing the number of pixels
in order to change the size of the image). We will talk more about resampling later. For now,
just think of it as one of the last things you do to a file, because it is irreversible.

Metadata and Sidecar Files

Once the changes have been made in Lightroom or Photoshop the data is stored in any of a
number of file formats – another topic for later discussion. Each image file also contains
information known as METADATA. Metadata includes such things as when and where an
image was captured, the Camera used, and all the camera settings.

Lightroom will automatically add information to this Metadata file such as copyright info, the
photographer’s website address, business address, and business name. When Lightroom
downloads your image files, all this data is automatically added to each image file. When the file
is saved in certain formats, the data becomes part of the file. In other formats, the data is stored
in a SIDECAR FILE. This is one of the many factors that can make file storage and
organization messy. I will do my best to lay out a process that will minimize the clutter. We
will be getting back to file formats and saving and storing files later in the book.

Quick review: Your camera can save image data in either or both Jpeg and RAW formats. As a
professional or serious enthusiast, you should always be working with the RAW file since it
contains all of the image information. RAW files must be converted in order to be viewed.

If you use Lightroom or Photoshop to make the conversion, save the converted RAW file as a
Digital Negative (DNG) before making any adjustments or corrections. It is best to keep a
duplicate DNG on an external hard drive dedicated to this purpose.

Photoshop and Lightroom process images by making adjustments to individual pixel data. They
do not discard any pixels unless specifically instructed to do so. This is known as Resampling or
Interpolation.

The Binary System

We need to digress for a moment to set a foundation for understanding some aspects of file
processing. This foundation requires a basic understanding of the binary system that is used in
computers. If your eyes just glazed over, I promise to do my best to keep this simple.

Computers use a binary system (0 and 1) to store and retrieve information. Some of the first
PC’s (Personal Computers - designed for home use) were based on an 8-bit system. This means
that an individual instruction or piece of data could be represented by a series of 8 0’s and 1’s.
For example, 0000 0000 could be used to represent the letter “a” and 0000 0001 could be used to
represent the letter “b” and so on.

In an 8-bit system there are 2 to the eighth (2X2X2X2X2X2X2X2) possible combinations of 0

and 1 or 256 possibilities. This is why you often see numbers associated with computer
functions like 256K and 1024 MB; they are variations of the 256 possible combinations in an 8-
bit binary system. In a 16-bit system the possible combinations become 2 to the 16th
(2X2X2X2X2X2X2X2X2X2X2X2X2X2X2X2) or 65,536 possible combinations.

Many of us are now using computer systems that use a 64-bit system or 2 to the 64th possible
combinations. I won’t even attempt to calculate how many possibilities that represents, but the
important thing to remember is that the more possible combinations, the faster the computer can
process information and the more thoroughly something can be described. So let’s go back to
digital imaging and see how this concept applies.

Understanding 8-bit and 16-bit color

In Photoshop, a specific color is described by a number from 0 to 255 (256 choices) for each
color channel: Red, Green, and Blue. This is referred to as 8-bit color and can accurately
describe almost 17 million colors (256 to the 3rd combinations). That might seem like enough
possibilities for anyone, but it doesn’t even come close to the subtle variation that our eyes can
see. Jpegs and the Internet are restricted to 8-bit color for faster uploading of images.

A GRADIENT is a gradual progression from one color to another. A gradient should show a
smooth, gradual transition, but with an 8-bit color system it shows lines of sudden change called
POSTERIZING. This imaging defect can be overcome by increasing the number of possible
colors.

A RAW file can have up to 32-bit color designations, thus allowing for more colors and finer
transitions. In an 8-bit system, each color channel value is designated by a whole number. An
example would be R85, G135, B255. With a 16-bit or 32-bit color system we can have values
like R85.2, G134.69, B243. Even this system of color coding with all its possibilities falls short
of human vision capabilities.

So, once again the RAW format allows us to capture and process image data that covers more of
the range of human vision.

More about File Formats

There are a number of file formats that you should be aware of. We have already talked about
RAW and Jpeg images so let’s just do a quick review on these two:

RAW and Jpeg are the only options for camera image files. Most point-and-shoot cameras
use only the Jpeg format. High-end point-and-shoot cameras and digital SLR’s (Single-Lens
Reflex) normally allow the user to choose between RAW, Jpeg, and RAW plus Jpeg. There are
normally several Jpeg file sizes available when this option is chosen. If the RAW plus Jpeg
option is chosen, the largest Jpeg file is the only option. With this selection, two image files are
created for every click of the shutter button.

RAW files contain all the image data that the camera is capable of capturing. RAW files need to
be converted to a different format before they can be displayed on a monitor and edited. Every
camera manufacturer that provides the RAW option also includes proprietary software with the
camera in order to convert the RAW files. This software is rarely used because most people
process RAW files with Abobe products such as Lightroom and Photoshop.

The RAW file format for Canon is CR2 – filename.CR2. When the file is converted using
Photoshop, an additional file is created to store all the metadata. This is referred to as a “sidecar
file.” For Canon the sidecar file is filename.xmg.

With Lightroom, the process is much simpler; Lightroom has the ability to preview RAW files
before they are converted and imported for editing. If the file is then saved as a digital negative
(or DNG) file, the metadata is embedded in the DNG file, thus eliminating the sidecar file and,
therefore, the possibility of losing this data.

Jpeg is the standard format for monitors, the Internet, and email. This is a compressed file
format created to make image files more manageable on the Internet. The normal resolution for
Jpegs is 72 pixels per inch. These files can be as small as 5% of the size of a RAW file without
noticeable loss of image data when viewed on a monitor. Jpegs are created by applying an
algorithm that discards pixels in order to compress the file size. The smaller the Jpeg size chosen
by the user, the more image data that is discarded. This data can never be retrieved.

If you have a 15 megapixel camera and choose the largest Jpeg option, the Jpeg will be saved at
a resolution of 72 ppi. At 72 ppi, the Jpeg image is 44 inches by 66 inches. To create a file that
is more realistic for use on a website, you might decide to reduce the image size to 8 inches by
12 inches. In order to do this, your editing software has to discard most of the image pixels – in
this case, about 97%. If you later decide that you want to print a 4X6 photo, the printer will
discard 75% of the remaining pixel data. Your 4X6 print contains less than 1% of the original
image data.

So why save such a large file if you are going to throw most of it away? The only time that you
would need the larger file is if you use it for large prints. You can also create smaller prints by
increasing the resolution, but you cannot use a higher resolution on the Internet.

Each time you change the size of your Jpeg file, certain pixels are discarded by the algorithm,
and thus, over time, there will be a serious deterioration in image quality. In fact, Jpegs lose
some image quality every time they are used – viewed, printed, or transferred over the Internet.

Earlier, I mentioned converting camera RAW images to Digital Negatives (DNG files). DNG is
the Adobe format for RAW files. You cannot use it to save edited files; therefore it is very much
like a film negative – the starting point for enhancing your images. Adobe has made this an open
format and has also made a commitment to maintain it so that you will be able to work with
DNG files far into the future. For this reason, some camera manufacturers have adopted the
DNG format for their RAW files.

DNG files are sometimes smaller than the manufacturer’s RAW files, but still contain all the data
that the camera was capable of capturing. The latest versions of Photoshop and Lightroom now
offer a compressed version of the DNG format that is about a third of the DNG file size. It does
discard some image data but is reported to be difficult to distinguish from an uncompressed
DNG file.

Once you have edited files in Photoshop, you can save them in Photoshop’s PSD format. This
will insure that every adjustment made in Photoshop is saved and editable. This format has a
size limit of 2 Gigabytes. This may sound like a lot, but Photoshop files can become very large.
If your file is larger than 2GB, you can save it as a PSB file. This format is unlimited by size. It
also saves every detail.

An alternative format that retains all of your edited data from Photoshop is Tiff. This is the
industry standard, and therefore has greater compatibility with other programs. It may not,
however, support every capability of some of the more specialized Adobe programs.

In Lightroom there is no save button to click on. The file is never actually in Lightroom.
Lightroom only saves the information about how the image should be edited. When you are
ready to export your completed image file, you then select a format such as Tiff or jpeg.
Chapter 3
ACQUIRING THE PROPER EQUIPMENT

Cameras

With the proliferation of digital cameras of all types and sizes, it is easy to convince yourself that
any point-and-shoot camera with a lot of megapixels will do the job. One photographer, who
sold note cards with photos on the front, told me that she never uses anything other than the
point-and-shoot camera in her purse or pocket because it is always with her when a photo op
develops. Point and Shoot cameras of all types, including cell phones have come a long way in
the last five years and now (2017) create some very impressive images. Many professional
photographers encourage people to use these cameras because you always have your cell phone
with you and this may well be the only way to capture unexpected events and photo ops.
Unfortunately, the images captured by these cameras have many limitations. A DSLR camera is
a much better choice when your photo shoot is planned.

So, let’s start with the assumption that your camera is digital and can produce an image greater
than 8X10 without enlargement. At a resolution of 300 ppi (a current standard for high-quality
prints) this would require 14 megapixels for an 11X14 print, so this should probably be our
minimum standard for our camera of choice. Also, the camera must be an SLR camera. This
means that it can be fitted with a wide variety of lenses to satisfy every need. SLR means
SINGLE-LENS REFLEX and denotes a changeable lens through which the image is conveyed
to the viewfinder exactly as it will be to the sensor.

Typically, there is a mirror that covers the sensor and reflects the image to the viewfinder at a 45-
degree angle for composition, exposure, depth of field and focus (topics that will soon be
discussed.) When the image is actually captured, the mirror moves out of the way of the sensor
just before the shutter opens and moves back just after the shutter closes. This way, the
photographer previews exactly the same image as the sensor records.

In recent years, MIRRORLESS versions of the SLR camera have become

popular. These operate slightly differently and are generally more compact than
the SLR. They are most often used for wide-angle photography because they
have distinct advantages for that class of photography. They also have a very
limited selection of lenses available. You should know that these cameras exist,
but they are not critical to our current discussion.

The sound that we associate with the shutter opening and closing is actually the mirror moving
out of the way and then back. Most digital SLR’s will allow you to lock the mirror out of the
way for extremely fast images and to avoid camera shake. If you do this, you will not hear
anything when you take the photo.

The following diagram illustrates how an SLR camera operates. It is also a link to the Wikipedia
page that explains SLR Cameras in great detail.

Canon & Nikon dominate this class of 35 mm-like (standard format) digital cameras and offer
numerous models and price points. In recent years Sony has made inroads into this market
because their cameras have a larger DYNAMIC RANGE.

DYNAMIC RANGE refers to how much variation in lighting can be captured

by the camera. Camera sensors are not as adaptable to differences in lighting
as our eyes. The photographer often has to decide to ignore the details in the
shadows in order to capture the details in the brightest light. In other cases, the
details in the brightest light are sometimes ignored in order to properly expose
 the details in the shadows.

To get a better idea of this dilemma, try to take a picture of the interior of your
house when there is bright light coming through a window that is in the photo.
You will either get the details of the room with a very bright light where the
windows is or you will get a good photo of the view out the window with the
room details too dark to see clearly. The way around this shortcoming is to
take a number of shots at different exposure settings and combine them in
Photoshop or a similar photo editing program. This technique is called an
HDR image. This stands for High Dynamic Range.

DSLR cameras are referred to as FULL-FRAME and CROPPED-FRAME based on their

sensor’s relationship to 35mm film. If the sensor is 1 inch by 1.5 inches, it is full frame –
approximately the size of a frame of 35mm film. If it is smaller, it is referred to as cropped.

The size of the sensor is related to the total number of pixels in the image, and therefore the
resolution or ppi of the image. The greater the resolution, the finer the image. This range of
DSLR cameras is more than adequate for most professional photography.

In a few cases, medium- and large-format cameras must be used for various reasons that are
beyond the needs of our current discussion. These cameras can be quite expensive ($25,000 and
up). They have a long and colorful history and are available in both film and digital versions.

Medium format refers to negatives or sensors that are 2.25 inches X 2.25 inches, or 2.25 inches
by 3.5 inches. Large-format cameras range from 4 inches X 5 inches, to 8 inches X 10 inches.
Ultra-large-format cameras are anything over 8 inches X 10 inches. In the film versions, prints
are made directly from the full size negative. Some of these cameras produce images as large as
48 inches X 48 inches. There is even a Polaroid version that produces images of 20 inches X 24
inches.

These medium- and large-format cameras are responsible for the wide variety of image sizes that
have become standards. Each size 4X6, 5X7, 8X10, 11X14, 16X20, etc. is a carryover from a
camera that produced film negatives of that size.

Many medium- and large-format cameras look similar to the style of cameras that the masters
like Ansel Adams used in the 1930’s thru 1950’s. They have a moveable bellows that allows the
lens to be tilted relative to the film or sensor. This design has many advantages that are beyond
the scope of this book and unnecessary for most professional photographers.

Even Ansel Adams made extensive use of the 35mm format to the dismay of many of his
contemporaries. The size, weight, and convenience made the 35mm camera worth the trade-offs.

Bottom Line: For the purposes of this book and most professionals, Digital SLR cameras based
on the 35mm model are the cameras of choice. Canon & Nikon are the dominant brands for
many good reasons but Sony is gaining ground.
Lenses

Let’s talk lenses. Most of the standard-format cameras (based on the 35mm model) can be
purchased as a camera body or a kit. The kit will include an inexpensive kit lens – usually
something like an 18mm-to-55mm zoom lens. This lens provides wide-angle capability as well
as the standard 50mm range. Most people will add another zoom lens like a 50mm-to-250mm.
This combination will cover most situations. I would also recommend a 50mm fixed-focal-
length lens. This was once the standard-focal-length and a fixed-focal-length will be much
sharper than a zoom lens in the same price range.

In general, a wide-angle lens (less than 35mm) will exaggerate the size of items that are close to
the camera and a telephoto lens (greater than 55mm) will make distant objects appear closer,
while the standard or 50mm lens will create an image that is very much like human vision. The
difference that focal length creates gives the photographer much greater flexibility with creativity
and content.

Any good book on photographic principles will clarify the selection and use of various lenses.
For our purposes, it is sufficient that you understand that this is very important – particularly if
you have been shooting in auto mode with a fixed lens point-and-shoot camera.

The next image was taken with a wide-angle lens. Notice how the twisted juniper trees in the
foreground stand out. Because they are close to the camera, they are somewhat magnified
compared to the large red rock formation behind them.
In the image above the large rock formation is about a mile from the people but appears to be
much closer. This is the result of using a telephoto lens. Besides enlarging objects, it
compresses distance.
For most people, a lens will be the first upgrade in equipment – not the camera body. Expect to
spend at least $1500 for a high-quality lens. In some cases, this will be a much greater
investment than the camera. I also point this out because the quality of your work might well be
limited by your lenses (“glass” in the trade). Most experienced photographers will tell you that
the spirit and imagination of the photographer is far more important than the equipment. While I
whole-heartedly agree, there are limitations. While the initial investment in a high quality lens is
significant it will continue to be used long after a camera upgrade. For example, most lenses that
were designed for Canon and Nikon film cameras are still compatible with the latest DSLR
cameras from these manufacturers.

Earlier I mentioned that you might want to purchase a fixed-focal-length 50mm lens. There are
several reasons for this. When I first decided to take my photography to the next level with the
hope of becoming a professional, I only had the kit lens. I soon purchased an inexpensive 50mm
- 250mm zoom lens to expand my capabilities.

As I gained experience, I began to notice that my images weren’t as sharp as those of

professional photographers that I considered role models. No matter what I did, I just couldn’t
get the kind of clarity that I desired. I then read a review about a very inexpensive 50mm fixed-
focal-length lens – $120. After much hand-wringing, I decided that I just had to know if the
fixed-focal-length would make a difference. Much to my delight, the difference was dramatic,
and I finally had confirmation that the problem was equipment – not my ability – at least in this
case.

For the next two months I shot several thousand photos with the 50mm lens in order to learn its
limitations. Most of this was learning to STITCH numerous (sometimes 50 or more) photos
together in Photoshop to produce one extremely high resolution and tack-sharp image. The
learning was not only about using my new lens, but also, what I had to do to get images that
would stitch together seamlessly.

The fixed-focal-lens is sharper because it is simpler in design – the glass doesn’t move. To get
the same or better sharpness in a zoom lens, you will have to pay a much higher price. The only
drawback to a fixed lens is that you have to move the camera to change the cropping – you can’t
just zoom in and out until you get the scene that you want.

It might also be a good idea to point out that a zoom lens and a telephoto lens are not the same
thing. A telephoto lens has a long focal length and therefore magnifies the image, but it is not
variable like a zoom lens. The focal length is fixed.

Tripods

The next critical piece of equipment is a tripod. No matter how steady your hand, you should
use a tripod whenever possible. Even with a tripod, it is sometimes difficult to get a perfectly
sharp image. Camera shake and tripod rigidity become noticeable after a while as your critical
eye becomes more discerning.

There are so many tripods to choose from that I won’t even attempt to compare features and
value. I will however suggest features that you should look for. Having a built-in level is a nice
feature, particularly if your plan to take a lot of panoramic shots for stitching together. The
stitching will go much more smoothly if the horizon is constant. Quick-release leg clamps are a
great benefit. You want to be able to set up quickly.

Weight is also a consideration and sometimes the main factor affecting cost. If you plan on
hiking to your sites, a light-weight aluminum or graphite tripod would be very nice. On the other
hand if most of your work involves very little walking, a heavier, more stable tripod might make
more sense.

Though not a priority, a built-in compass is helpful. If you are not quite happy with the lighting,
a compass will help you make an educated guess about when to come back for more favorable
lighting. The head is also an important consideration. A ball mount offers a great deal of
flexibility in camera position, but a multi-axis head has advantages for panoramic shots.

Spend some time researching and physically inspecting several tripods before making a
decision. There are many good units available for less than $100 but you can also spend $500 to
get everything that you want. Take the time to make a good decision for you. Manfrotto and
Enduro are popular brands in the $100-to-$150 range. If you can justify $500 to $600 for a light-
weight carbon-fiber unit, Gitzo is a great brand.

Backpacks and Camera Bags

If you are like me and like to carry your equipment with you, a good backpack is essential. I
tried several packs and bags before I found something that I liked. I use a Lowepro Fastpack 350
and couldn’t be happier with it. It has an internal frame that gives great support. Fully loaded,
my pack weighs about 30 pounds and I hardly notice it most of the time. This pack should cost
$100 to $150.

Another thing that I bought that is helpful is a folding three-legged stool. I strap it to my pack
along with my tripod. For sunset or sunrise shots or any other times that you are waiting for that
perfect light, it is a great comfort.

Filters

With digital cameras there is very little need for FILTERS, but there are two that are worth
having. The first is a POLARIZING LENS. If you have ever tried polarizing sunglasses you
already have an idea of what this filter does. It reduces glare, deepens color, and darkens the
entire image.

There is nothing that Photoshop or any other software can do to match the polarizing effect. This
is a lens that screws onto the front of your lens and is rotated for the best effect. If the sun is
directly behind or in front of you, a polarizer offers little or no help, but when the sun is off to
your side, it can make a dramatic difference – intensifying blue skies in a way that is hard to
describe. The basic operation is to look through your viewfinder and rotate the filter until the
sky is noticeably darker. Then fine-tune the rotation until you find the darkest spot. This
position will remove glare and significantly increase the vibrancy of all the colors in the image –
not just the sky.

One word of caution: If you are in manual focus mode – and you should be – be careful not to
change your focus while you are rotating the filter. The last time I checked, a good polarizer cost
about $50.

NG or NEUTRAL GRAY FILTERS are also a good idea to carry along for those tricky
lighting problems. One of the most common uses for an NG filter is photographing water in
strong daylight. With a quick shutter speed you can catch drops of water in mid-air. But many
times you will prefer the smooth, silky look of water flowing over rocks; this requires a slower
shutter speed that might be difficult to achieve in bright daylight. NG filters to the rescue.

An NG filter will make the scene look darker to the camera sensor, thus resulting in a longer
exposure time and the desired silky look. It affects nothing but the amount of light that comes
through the lens – thus the “neutral” part of the name. The glass is gray in color – also neutral to
the camera sensor. You can buy a set of gray filters, a single filter of fixed-darkness, a rotating
variable gray filter, or a graduated gray filter of a fixed rating. Each has its benefits and you
should research this topic before you make a choice.

Hoods

A hood is sometimes a nice thing for blocking the sun and avoiding lens flare, but I personally
find them to be more annoying than helpful. If you are using a zoom lens with wide-angle
capabilities, you will discover that the hood shows up as a dominant factor in your image below
a certain focal length. I wear a cowboy hat (living in Arizona helps with this) that I use to shield
the lens as needed. I always use a wireless remote shutter release (another inexpensive and
extremely valuable accessory), so it is easy to hold the hat up while I fire the remote.

Auxiliary Flash Attachments

Another item that should be high on your wish-list is an auxiliary flash attachment. These
flashes start in the $600 range so this might not be an early investment, but get one as soon as
you can justify it, even if you do most of your work outdoors. The camera’s built-in flash will
fill in shadows as far as 20 feet away under the right conditions. An auxiliary flash has far more
capability than the built-in flash and some photographers use them in most situations to fill- in or
even-out the exposure. Done correctly, the flash is undetectable in the final image.

Up to this point, we have discussed equipment that is pretty much across-the-board for any type
of serious photographic work. There is also equipment that is specific to the task. I will try to
identify enough of these specialty items to point you in the right direction for your chosen field.

Specialty Items: GPS, Tethered Capture, and More

If you do a lot of landscape and nature photos, a GPS device can be a great investment. Not to
tell you where you are, but where you have been. You might want to go back to the location of a
great shot, but don’t remember its exact location. A GPS log is a great resource in cases like
this.

There are two options available. The most expensive (around $400) is a dedicated attachment to
your camera that embeds the GPS data in the image metadata when you take the photo. The
other, and probably better, solution is a GPS logging device. You synchronize the clock on the
device with the clock in your camera. When you download your images to Lightroom (to be
discussed in a later chapter on software) you also download the GPS log. Lightroom then looks
to see where you were when you took each picture and adds that information to your image data
(called Metadata).

These logging devices are typically under $100 and one device can be used with all your
cameras. Some newer cameras have this function built in, so check your manual before making
this investment.

We will be talking about Lightroom and why it is an essential investment in a later chapter, but I
refer to it here for a second time because it has some very nice features that relate to the topic at
hand. With Lightroom loaded on your laptop, you can tether your laptop to your camera and
have the images go directly to Lightroom rather than a memory card. This is referred to as
TETHERED CAPTURE and has several advantages: It saves time – no downloading of
images later. The shot can be viewed on your laptop – a much larger screen than the LCD on
your camera. Focus, exposure, depth of field, and clarity can be confirmed immediately after
taking the shot.

To facilitate this setup, some photographers use a setup on their tripod that supports the laptop as
well as the camera. If you are interested in this setup, research the Manfrotto 123 Super Boom
Pivot Clamp, Manfrotto 173B 42-inch Mini Boom Arm, and Tether Tools Aero Table. Tether
Tools also sells a complete kit. The clamp replaces your tripod head which is then attached to
the bar through another clamp and the table supports your laptop. For more details, click on the
following photo hyperlink.
If you decide to do macro photography (extreme close-ups), you will be surprised to learn that
you may need auxiliary lighting even in bright sunlight. There are several options available but
the most commonly used is a circular tube that surrounds your lens. I’m not an authority on this
topic, so please do some research before you buy something.

There are two other accessories that are commonly used with this type of photography:
extension tubes and macro lenses. Extension tubes allow you to change the focal length of your
lens. Macro lenses are basically magnifying glasses that screw onto your lens like a filter.
Focusing and adjusting depth of field can be tricky with either of these devices. A tripod is
essential for macro photography.

A Wind Shield is a very useful device if you are shooting wildflowers. These flowers tend to be
very small and have a great deal of detail. It is difficult enough to lock in good exposure and
detail without having to deal with movement caused by even the slightest of breezes. Many
photographers who specialize in capturing images of wildflowers carry a collapsible screen with
them to block the wind.

There will be times when the lighting is not quite what you would like, when it can be
augmented with the use of a reflector to redirect the light source.

If you do a lot of studio work with flat images, a vertical camera mount is invaluable. These
devices use a rack and pinion mechanism for precise camera location.

Whenever you run into a situation where you think, “If I only had something that would ....,”
there probably is a photographic accessory that does exactly that. So do some research when
these things occur and you might be surprised by what you discover.
Chapter 4
DEVELOPING SKILL BEHIND THE CAMERA

Understanding the Abilities and Limitations of your Equipment

Having a great camera is not enough. Repeat after me: “I will never shoot in the automatic
modes.” Do yourself a favor and forget that these settings even exist. They will only hold you
back. They may have produced images that received rave reviews, but they are your enemy if
you want to be an accomplished photographer. Auto modes stop you from thinking and
learning. Anyone can point and shoot. You want to do more. You want to use the camera as a
means of expression, and you can’t do that if all the decisions have already been made by the
camera’s software.

As previously stated, the purpose of this book is to help you get a handle on what you need to
know. In order to cover the topic of this chapter, it will be necessary to discuss the basics of
photography, but the discussion will only scratch the surface in order to identify what you need
to know about your equipment. Let’s start with your camera.

Deciding where to start with the CREATIVE SHOOTING MODES may be a personal
preference but your three best options are: Av (Aperture Value), Tv (Time Value), and Manual
(you set everything). I placed these modes in this order because this progression will work for
most people. Av and Tv are Canon settings. Other brands might use slightly different terms but
it should be easy to determine the equivalent setting.

I have placed Av as the first mode because understanding the aperture setting is critical to
controlling exposure, depth of field, and the photographer’s ability to convey a feeling or mood.

Let’s start with the basics: As light passes through the lens, it forms an image at a particular
focal length – a topic that will be discussed later in the next chapter. Light from that image then
passes through a small hole that can be varied in size – the APERTURE – and must strike the
sensor in order to be recorded as a digital image. The shutter lies between the aperture and
sensor and controls how long the light is allowed to strike the sensor in order to form the image.
If the shutter stays open too long, we say that the image is overexposed. If the shutter closes too
rapidly, we say that the image is underexposed.

Even though the shutter plays a very critical role in achieving a quality image, the aperture has
already determined some characteristics of the final result before the shutter is ever activated.
The size of the aperture opening is called an “f-stop.” The name comes from its relationship to
the focal length of the lens being used – an interesting but unnecessary topic for our purpose at
this time.

The important thing to know about f-stops is that the higher the number, the smaller the opening
that the image must pass through. Also, a very small hole produces a very sharp image and a
larger hole produces a softer image. For this reason landscapes are associated with high f-stops
and portraits are associated with low f-stops.

Another aspect of aperture setting is DEPTH OF FIELD. A shallow depth of field means that
the subject of the image is in focus but the background is blurred; “Gaussian blur” is a
commonly used term for this effect. A large depth of field means that the image is in sharp focus
from foreground-to-background. Portraits look best with a shallow depth of field and landscapes
look best with a large depth of field.

There are no standards for the minimum and maximum f-stop value for any specific lens. In
fact, a zoom lens will have different min and max values depending upon the focal length being
used (how much it is being zoomed in or out).

This topic is so critical to results that we will be returning to it in greater detail later in the
chapter.

Create Challenges

The only way to truly develop confidence and skill behind the camera is to challenge yourself
with difficult shots and work at it constantly. Some professional photographers make it a point
to capture at least one image every day. Others will spend a day in the field and then several
days processing their work.

When I first started using a fixed-focal length lens, I wanted to see what I could do with it that
was beyond the norm. Since it produced a sharper image than my other two lenses, I wanted to
use it as much as possible. I realized that I could take a series of photos and stitch them together
to create images of a size and resolution comparable to large-format cameras. If successful, I
could produce images that would normally require a much greater investment in equipment.

I then began to look for challenges. I found a 10-foot-long X 5-foot-high mural in a narrow
hallway. The only lighting was daylight coming through the ends of the hallway. Even with a
wide-angle lens, several shots would have to be stitched together. With the 50mm lens, I
estimated 15 to 20 individual shots. In total, I probably took 600 shots of this mural before I got
a decent composite.

From the experience, I learned a great deal about perspective distortion and how to correct it. I
also learned how to set up my tripod for best results, and purchased an auxiliary eyepiece that
allowed me to look through the viewfinder from the top of the camera and off to one side. The
hallway was too narrow for me to stand behind the camera, so I had to find another technique. I
didn’t know that such a thing as the eyepiece adaptor existed until I had the need and searched
for a solution.

I varied the amount of overlap from image to image, changed tripod positions, refocused, locked
in focus and exposure before moving the camera, shot from different angles, and then adjusted
perspective in Photoshop, and generally tried every variation on the theme. With each set of
images, I noted what worked and what didn’t, and planned my next attempt. Ultimately, I
learned how to create some impressive composites, and also learned how to minimize
perspective distortions.

The main point here is that I didn’t just shoot a panorama and call it quits. I chose a more
challenging situation in order to learn what was possible rather than what was normal.

I have created similar challenges for myself in order to learn macro photography,
astrophotography, capturing lightning strikes, and how to handle difficult lighting situations.
The faster and more frequently you make mistakes, the sooner you will achieve your goals.
Don’t shy away from challenges. You need to develop confidence in your ability to handle the
unusual as well as the routine.

As you go about challenging yourself, work on the basics at all times. What separates great
photographers from the masses is solid craftsmanship as well as artistic creativity. Work on each
aspect of the craft until you have mastered it. If composition is a problem, keep shooting until
you can crop your way to an exceptional image. Then work at capturing great composition
without having to crop after the fact. When you are comfortable with composition move on to
depth of field, then exposure, then sharpness, then color, and on and on, improving your skill
with each challenge faced and overcome.

Study the work of others. Take time to look at photographs in every type of media. Visit
galleries, study magazine covers and ads, surf the net, join Flickr. The more images you review,
the better you will be able to judge your own work.

Photography is one of those wonderful endeavors that will continuously challenge you to reach
greater heights as you learn and master the craft. Ansel Adams was an accomplished musician
as well as photographer. He practiced the piano for several hours most days of his life. In spite
of his love of great music and great performances, he stopped attending concerts in his later
years because he found that he could not keep his attention on the music. He was so obsessed
with improving his photography that he was constantly thinking about the next thing he wanted
to try or next scene he wanted to capture. So don’t feel badly if you are not satisfied with your
level of expertise. Ansel Adams never was, and he did pretty good work.

Be creative, cut yourself some slack, create challenges, learn from your mistakes, and have fun.
If you are not enjoying your work, it will show in your images. Your images will lose their
sense of wonder and become predictable.

Photographic Basics – Focal Length, F-stop, Depth of Field

Before we move on, let’s spend a little more time on some photographic basics.

Since the APERTURE VALUE or Av mode is probably the most used by professionals and
serious enthusiasts let’s start there.

The FOCAL LENGTH of your lens is the distance from the mid-plane of the lens to the point at
which it creates a sharp image behind the lens. The longer the focal length, the narrower the
field of vision and the greater the magnification effect.
Your APERTURE VALUE or “f-stop” is based on the focal length of the lens you are using
and the diameter of the aperture opening. A 50mm focal length lens combined with a aperture
opening diameter of 12.5mm would be 50mm/12.5mm = 4 or commonly referred to as f/4. The
importance of the f-stop is its effect on exposure and depth of field. When a photographer says
that he has “stopped down a full stop,” he means that he has reduced the area (not diameter) of
the aperture opening by one-half. Therefore half as much light is allowed to pass through the
aperture to the sensor. Digital SLR cameras allow you to stop up and down in ½-stop and 1/3-
stop increments for greater control over exposure and depth of field.

The chart that follows is the best visual representation of this topic that I have found. Please take
some time to study it. I found this chart on the Internet. The chart is a hyperlink to the original.
Simply put, exposure is the amount of light that reaches the sensor. The smaller the opening,
the sharper the image and the greater the depth of field. The exposure is also controlled by the
shutter speed or how long the shutter stays open. If you stop down a full stop and double the
amount of time that the shutter is open, you have the same exposure. The difference would be
that you have a greater depth of field.

DEPTH OF FIELD is the range of sharp focus in an image. If the aperture opening is large, the
image will have soft edges and the background will be blurred. This is the preferred setting for
portraits where the person’s face is the object and the background is unimportant. The opposite
is true of landscape photography. In this case, everything from foreground to background should
be in focus. All other situations fall somewhere between these extremes and an experienced
photographer will quickly decide the optimum f-stop to create the feeling that she hopes to
convey.

The actual f-stop settings available to you will depend upon the lens being used. If you are using
a zoom lens, the focal length of the lens will change as you zoom in or out. The lens will have a
limited number of aperture opening sizes that it can produce, and so the f-stop values available
will vary as the focal length changes.

BOKEH is a term closely associated with a shallow depth of field. Basically it is the quality of
the blurred background. If a lens has a good bokeh it means that the blurred background is very
even in color distribution. A poor bokeh, on the other hand, is very splotchy.

Proper Exposure

Your digital SLR has a built-in exposure meter with a number of options. I would suggest that
you read your owner’s manual for more on this topic, but for most cases the “evaluative” setting
is the best choice. With this setting, the exposure meter evaluates the entire image and then
makes its shutter speed selection based on that data.

Bright areas of a photo are called HIGHLIGHTS. Dark areas are called SHADOWS or
BLACKS. Neutral areas are called MID-TONES. HIGHLIGHT CLIPPING means that the
image has been exposed enough that details have been lost in the highlights. SHADOW
CLIPPING is a loss of details in the shadows due to under-exposure.

With digital photography and software such as Lightroom and Photoshop, it is generally best to
allow the shadow areas to remain dark and adjust the brightest areas so that detail is retained.
For example, clouds are very bright but they often have a lot of interesting details – shades of
gray and colors. If the image is over-exposed, this detail can be totally lost, so it is important to
darken the exposure so that all of the detail in the clouds is retained. If this causes the shadows
in the image to get darker, the contrast might punch-up the image. Also, there is a good chance
that the shadow details can be recovered by software manipulation.

There are several ways to gage proper exposure: The easiest is to allow the camera’s built-in
exposure meter to decide for you. This is called AUTO-EXPOSURE. The only thing that you
have to do is decide how your camera measures the light. The Evaluative setting is the most
widely used. In this case, the meter evaluates numerous regions (35 for my camera) of the image
and selects an exposure based on the overall average brightness. There are several other possible
meter settings but this is a good starting place.

As you gain more skill, consult your manual to see if one of the other settings would be
appropriate. For my camera, the other choices are Partial Metering based on the center of the
image and about 9% of the total area, Spot Metering based on the center of the image and 3.8%
of the total area, and Center Weighted – similar to Evaluative but with more emphasis on the
center.

The actual settings that the camera has to choose for proper exposure depend upon the shooting
mode chosen at the time. If you are shooting in the Av mode, you will pick the aperture setting
and the camera will choose the shutter speed. Likewise, if you are shooting in Tv mode, you will
pick the shutter speed and the camera will choose the aperture setting (f-stop).

There is one more control that you have over auto-exposure. It is your general exposure setting –
the normal value. On your LCD screen, there is an exposure compensation gage. Normal
exposure is in the middle, and you can move this setting by up to 2 full stops brighter or darker.
Your camera menu will allow you to set the gage for 1/2 stop or 1/3 stop increments for finer
control. With practice, you will soon discover if you need to move from normal exposure for
particular situations. For example, if you are trying to photograph city lights from a distance,
most of the frame will be dark and the normal exposure setting will result in large bright spots
instead of finely focused lights. In this case, the adjustment is counter-intuitive. You need to
darken the exposure several stops so that the lights are not overexposed.

EXPOSURE BRACKETING is a common technique used by many photographers. With this

technique, you set the camera to take a normal exposure followed by a darker exposure and then
a lighter exposure. The camera will then take three shots in rapid succession with one click of
the shutter release button. A tripod and remote shutter-release are imperative for this technique
since the software has to accurately align the three images.

There are two reasons for using this technique. If you have a tricky lighting situation and you
are not quite certain of the best setting, you might want to take additional shots – both brighter
and darker – and choose your best exposure after the fact.

The other reason for Bracketing is to create HDR (High Dynamic Range) images. In this case,
two or more exposures of the same object are combined by software to produce better overall
exposure. The software selects the best exposed portions of each shot and combines them into
one image.

Another method of evaluating exposure is to use a hand-held exposure meter and EXPOSURE
ZONES. This system was developed by Ansel Adams and Fred Archer. The Zones are denoted
by Roman numerals and range from 0 to 10. The middle zone is Zone V (5) and represents mid-
tones. Zone VI is one stop brighter and Zone VII is two stops brighter. Zone IV is one stop
darker than V and Zone III is two stops darker than V. In digital photography, blacks are
considered Zone II and pure whites are considered Zone VIII. Thus only 7 of the 11 original
Zones are used. In its simplest form, an image should be observed and evaluated as to what
percentage of the overall image falls into each Zone and then use an exposure setting that works
for most of the image without Highlight Clipping.

For more details on this technique click on the link below.

Ansel Adams & Fred Archer’s Zone System

A third method of evaluating exposure is the HISTOGRAM. This is basically a chart that
shows how much of the image falls in each wavelength of light from pure black on the left to
pure white on the right. With digital photography, there is no ideal histogram but you should
avoid clipping of shadows and highlights with highlights being the most important.
ISO Setting

Another factor related to exposure is the ISO setting. This value was originally developed to
identify the light sensitivity of various types of film. The basic or slowest film was set at ISO
100. A film that was twice as sensitive to light would then be ISO 200. A film that was twice as
sensitive to light as ISO 200 was ISO 400 and so on. In this way, if you used a film that was
twice as sensitive to light, you could achieve the same exposure by reducing the f-stop by a full
stop or cutting the exposure time in half. This allows greater latitude in depth of field under low
light conditions.

The main drawback to high-ISO film is that the image has a grainy appearance when developed.
The larger the print, the more noticeable the grain. Oddly enough, this effect has carried over to
digital photography. ISO settings on a digital camera adjust the light sensitivity of the sensor in
a way that simulates the ISO ratings of film. Because of the increased sensitivity, the sensor is
more prone to NOISE (unwanted electrical signals and heat) thus creating a similar grainy
effect.

Most digital SLR’s have built-in filters to reduce the noise effects from increased ISO and long
exposures. When you use these filters, the image is processed immediately after it is taken. If
you have a 60-second exposure, it will take the camera an additional 60 seconds to process your
image before it is visible on you camera’s monitor. You cannot take another photo until the
process is over. The time to filter the image is not an exact one-to-one ratio, but my experience
has been that it is pretty close. So a one-minute exposure might not take exactly one minute to
filter but it will be very close to that value.

Setting and Adjusting White Balance

WHITE BALANCE is another important color setting on your camera. In most cases, you can
simply select a white balance value such as daylight, shade, clouds, fluorescent, or tungsten.
You are telling your camera the type of light that was present when the image was captured. For
best results, take a shot of a NEUTRAL GRAY CARD for each photo shoot and use that image
to adjust your white balance. To set the white balance in your camera, take a shot of the card
that fills the entire frame and tell your camera to use it to create a custom white balance.

To adjust the white balance in your editing software, just click on a neutral area of the image. If
that area happens to be a NEUTRAL GRAY CARD, all the better. Then use that white balance
setting for all images captured during that photo shoot. We will return to this topic in more
detail in the next chapter when we discuss color management.

Use a Tripod

I would urge you to use a tripod unless the situation prevents you from doing so. I also urge you
to use a remote shutter-release so that you never actually touch the camera during the image
capture. As your critical eye improves, you will notice even the slightest bit of camera-shake
even when using a tripod. The remote dramatically improves your odds of getting a sharp image.

Take Care When Changing Lenses

Whenever you change lenses, you run the risk of getting dust on the sensor. This is especially
true when changing lenses in the field. A couple of simple precautions will help considerably.
First, make sure that the power to the camera is off before making the change. When the camera
power is on, the sensor has an electro-static charge that will attract dust like a magnet.

It is easiest to change a lens with the camera mounted on a tripod. In this case, point the lens
toward the ground to lessen the probability of collecting falling dust in the air. Press the lens
release and turn the lens a few degrees, but nowhere close to the point where you can remove it.
Next, loosen the rear lens cap on the replacement lens. Now remove the first lens from the
camera and move the rear cap from the second lens to the first. Now insert the new lens and
rotate until it locks in place. The faster that you can perform this task, the better.

If you do get dust on your sensor, there are things that you can do to fix it. Dust on the sensor
shows as dark spots on every photo at exactly the same places. These spots are particularly
noticeable in areas of relatively consistent color such as the sky.
When I first encountered this problem, I didn’t even know for sure where the sensor was or what
it looked like. Fortunately, I found a You-Tube video that explained and demonstrated how to
clean my sensor. I then bought a cleaning kit and blower bulb.

The sensor is behind a mirror that reflects the image to the viewfinder. The mirror has to be
rotated out of the way before you can clean the sensor. For some cameras the proper menu
selection will be “manual cleaning.”

If you purchase a swab kit, be sure that it is the correct size for your camera. There are three
sizes available and each lists the cameras that are supported. You may have to use several swabs
if the dust is stubborn. The best way to test your camera after cleaning is to take a few shots of
the sky. If you don’t see any dark spots, you are done.

A word of caution: Several books that I read advised against doing this yourself and several
experienced pros likewise advised me not to touch the sensor. I was not willing to send my
camera away and wait weeks to have it returned so I gave it a try and was very happy with the
results.

Link to an article about cleaning sensors

Buy a Book about Your Camera

There are so many settings and combinations of settings available to you that I suggest you
purchase a book that is specifically written for the make and model of your camera. The book
that I purchased was written by David D. Busch. He has written over a thousand similar books
for a variety of other cameras. The quality of his books is outstanding.
Additional Reading

I have written several other photography books. A few of them might add to your understanding
of capturing a digital image.

Mastering Digital Cameras is my personal favorite. It covers the evolution of photography and
adds much more depth to our discussion of digital cameras and capturing digital images.

The Art of Photography is about the artistic aspects of capturing images. This book also
features the work of eight featured artists ranging from novice to renowned professionals.

Mastering Aperture, Shutter Speed, ISO, and Exposure is my best-selling book. It will greatly
enhance your understanding of Creative Shooting Modes such as Av, Tv, and manual settings.

Mastering Histograms explains how Histograms are created and how to use them to enhance
your results. Photographic Histograms are unique to digital photography. They were not used in
film photography. This is my second best selling book.
Part II – Processing Images
Chapter 5
COLOR MANAGEMENT

This is often a topic related to extreme frustration, but it doesn’t have to be. COLOR
MANAGEMENT is the instructions that we give to our computers and files so that what we see
on the monitor matches what the camera captured and the printer printed.

Working with Virtual Images

When we work with an image file in a program like Photoshop, we are working with a virtual
image. There is no image in the computer – only a file that contains data about the color and
light intensity of every pixel in the image. In order to see the actual image, our monitor needs to
use that data to light up pixels on our screen. If the monitor is not accurately displaying the
information captured by the camera, all of our adjustments will have unexpected and unwanted
results. Likewise, our printers have to print the pixel information correctly. At least in this case
we can visually compare the monitor image to the print. Unfortunately, printing materials have a
dramatic effect on the image – another topic for later discussion.

So how do we insure that we are correctly processing our digital images?

Calibrating and Profiling Your Monitor

Let’s start with the monitor: There are two parts to the process – CALIBRATION and
PROFILING. Until I understood the difference, I thought that both processes were different
calibration techniques. I suspect that I was not the only person ever confused by this.

CALIBRATION OF THE MONITOR is a process that is directed by your operating system

and hardware. Before starting this process, make sure that the monitor is warmed up – running
for at least 20 minutes. In Windows, go to the Control Panel and then click on Display in the
Appearance group. Under the Display options (this might be down the left side of the screen)
click on Calibration. The computer will walk you through this process step by step.

Though the actual process will vary depending on your hardware and operating system, the
adjustments are mostly the same. Your monitor should have buttons to adjust brightness,
contrast, and clarity. During the calibration process, certain images will appear on your screen
and you will be instructed to make adjustments using these buttons until a clearly specified
objective is achieved. For example, on my system, there is an image of a man in a dark suit with
an X over his right shoulder. The instructions are to adjust the brightness until the X is barely
visible but I can still clearly see the difference between his tie and suit jacket. Once
accomplished, another image appears with different instructions. When the process is complete,
the program informs me that I have successfully calibrated the monitor.

After Calibration, the monitor can be PROFILED. This can also be done through your
computer system, but relies on your color perception and judgment. A better solution is to
purchase a color “puck” or “spyder” sold by www.xrite.com and www.datacolor.com
respectively. These devices are sold with profiling software. The software will walk you
through the process which is rather straightforward.

Make sure that the lighting in the room is the same as when you edit your photos. Subdued
lighting and neutral colored walls are recommended but this is not always possible. So just do
your best to create a normal environment.

When the program begins, it will instruct you to drape the puck or spyder over the monitor so
that it is positioned at a certain location on the screen that has been clearly indicated by the
software. The puck or spyder has a USB cable that plugs into your computer and a
counterweight on the cable to help it stay in place.

The program then projects a series of color swatches on the screen and the puck or spyder
measures the light information to determine if the monitor has displayed the color correctly. If
the monitor is off base, the program will note the correction that needs to be made to achieve
accurate color. This data is placed in a file known as a COLOR PROFILE. After testing
numerous color swatches, the profile is complete and stored on your computer with other
monitor-related files. From this point forward, the profile will adjust the way the monitor
displays image data so that the image shown is the same as the image captured.

More about White Balance

Once your monitor is calibrated and profiled, you need to see if your camera’s white balance is
correct. The WHITE BALANCE determines if your camera is creating a digital file that
accurately reflects the actual color in the scene. It is also an adjustment that you can make in a
photo-editing program to change the feel of the image.

Let’s start with accurate data collection. The term white balance is a little misleading since it is
usually set by using a neutral gray card. The reason for this is that it is very difficult to define
pure white or black but easy to define shades of gray. The actual method for setting your
camera’s WB (white balance) is described later in the book.

In photo editing software used with RAW files, there is a TEMPERATURE SCALE that can
be adjusted. This scale was created by heating materials to a high temperature and observing the
color of the material. The observed color was then matched to the temperature at which the color
was observed. This temperature scale was then related to the color of light used in photography.
Thus, a candle is about 1800 degrees, incandescent lighting is about 2800 degrees, daylight is
about 5500 degrees, and Blue Sky is about 10,000 degrees. The lower the Temperature value on
this scale, the “warmer” the light. Thus, reds tend to be low numbers and blues are high
numbers.

There is a standard position on the scale for each type of light that photographers have to deal
with. For this reason, rather than setting a temperature, you will select fluorescent , tungsten,
cloudy, etc. in your camera’s menu. Although these settings get you in the ballpark, most
photographers like to make subtle changes to warm or cool an image or remove a color cast.

Using Color Charts for Color Management

Another thing that you can do is to purchase a color chart, photograph it, and display the image
on your monitor. If the colors match, you know that you have a good white balance in your
camera. A word of caution: not all color charts are of equal quality and a cheap one can cause
you a lot of unnecessary grief. A product used by many professionals is ColorChecker-Passport:

The software included with the ColorChecker will profile your camera. You take a photo of the
color checker according to specific instructions and then open that image in the software
program. The software will compare the image on the screen to the values of the color patches in
the ColorChecker. It will then create a profile that you can name. By applying this profile to
your photos, the color will be corrected automatically.

So far, we have discussed aspects of managing the digital image in the camera and displaying it
on the monitor. The final part of the process is to print the image. This topic involves more than
just the printer; it includes a large array of materials that contribute to the end result. For now,
you need to know that printers can be profiled as well as monitors in order to improve results but
this is only a small part of the equation. For this reason, I will be talking more about printers and
printing images in Part III.

Since we have been discussing profiling, you should also know that you can create a custom
profile for each of your lenses and store those profiles in Lightroom and Photoshop in order to
make subtle adjustments when the image file is imported.

Adobe Lens Profile Creator

Chapter 6
PHOTOSHOP SOFTWARE

There are many software programs used to edit photos, but most professionals will use Adobe
Photoshop and Adobe Photoshop Lightroom.

Since Photoshop dominates the world of Photo Editing this Chapter will focus entirely on Adobe
Photoshop Programs.

What is Photoshop?

Photoshop has been around for many years and dominates the photo-editing market. There are
two things about it that very few people, except professional graphic artists and photographers,
know:

First, Photoshop is, first and foremost, the digital equivalent of the darkroom. Years ago, I
learned that a photographer could do more with an image in the darkroom than he or she could
behind the camera. Masters of the darkroom developed numerous techniques to enhance and
bring life to their images. The art and craft of the darkroom was so important that Ansel Adams
developed his own prints his entire life – right up to a few days before his death.

Many of the features of Photoshop are modeled on these techniques and, in fact, still carry the
names of darkroom procedures such as “burning” and “dodging” – the ability to darken or
lighten a small portion of an image with great precision. Ansel Adams referred to these two
adjustments as our ability to correct God’s tonal mistakes.

Second, Photoshop is not a single product but rather a family of products.

Your Photoshop Options

The first version of Photoshop was released to a select group of professional graphic artists in
January 1988. It was a MAC only program. It was Photoshop 07 (Code Name Bond).

In March of 1989, Adobe released the first commercial version of Photoshop. It wasn’t until
1992 that Photoshop became available for Windows operating systems.

Photoshop CS6 was released in May of 2012. It was the last stand-alone version of the program.
Adobe Creative Cloud was introduced at the same time. This is a subscription based version of
Adobe software that is accessed through the Internet. Roughly a year later, Adobe announced
that it would no longer sell CS6 and that Photoshop CC (Creative Cloud) would replace it.

There are pros and cons to the Creative Cloud option. Photoshop CS6 cost about $700. A one
year subscription for Photoshop CC is about $240. But there is another option available. Adobe
has a Photography Plan that gives you access to Photoshop CC and Photoshop Lightroom CC
for $10 a month. So you get Photoshop and Lightroom for half the cost of Photoshop CC alone.

If you choose this option, be aware of the plan that you are signing up for. You can go to the
Adobe Creative Cloud website and purchase the plan without any commitment — you can cancel
at any time without penalty. If you go to Amazon.com and search for Photoshop CC you will
see an option for a one year plan at $120. You might prefer to pay a one-time fee rather than
having your credit card charged every month. The downside to this is that it is very difficult to
cancel and you will be charged a penalty of one half of the remaining time on the subscription.

The biggest advantage to the Creative Cloud version — Photoshop CC — is that you will always
have the most up-to-date software.

Another subscription option is the entire Creative Cloud (18 programs) for $50 a month. This
option includes many programs that most people have never heard of. My favorite program is
Adobe Muse. It is a very simple and very user friendly program for creating Websites without
writing code. Dreamweaver is also included in the Creative Cloud, if you prefer to write your
own code. I have created websites using Dreamweaver and several other programs that require
writing code. I have also created websites using drag and drop software with templates. Adobe
Muse is by far the best option in my opinion.

The Creative Cloud also includes programs that allow you to create animation, do serious
graphic art, edit video, etc.

To explore all your options for a Creative Cloud subscription, click on the link below.

http://www.adobe.com/creativecloud.html

If you decide to purchase Photoshop, you might find it is a bit more difficult to learn than what
you might have expected. This was my experience when I decided to learn Photoshop in 2012.
There was no place within 90 miles of my home offering classes in Photoshop, so I had to rely
on books. I soon learned that every book that I purchased assumed knowledge of Photoshop.
They were all written to tell the reader about the newest features of the latest version. None of
them addressed the basics.

Because of my own frustration with learning Photoshop, I wrote a book to fill in this missing
information. I also learned that Photoshop is all about technique. There are dozens of ways to
do most things. Some are very difficult and others are rather easy. Knowing the right technique
can make all the difference in the world and save an enormous amount of time. So, I included
techniques that I have found to be fast and efficient. To the best of my knowledge, it is still the
only book about Photoshop that requires no prior knowledge of photo editing software. It also
includes over twelve hours of Video Lessons. Just click on the image below to learn more.
 The one book that you need to avoid is Photoshop for Dummies. It is by far
the worst book on Photoshop that I have seen. It assumes that you already
know how to use Photoshop. It also uses techniques that are unnecessarily
difficult and time consuming.

Photoshop Elements

Photoshop Elements is a stand-alone but less powerful version of Photoshop. In my experience,

Photoshop Elements has about 90% of the capability of Photoshop CC. This is not a bad deal.
In general, PS Elements will be about one year behind Photoshop in features, but far superior to
any other stand-alone photo editing software. The menu selections and location of certain
features are slightly different from Photoshop but easy to adapt. If you know Photoshop, you
will make the transition with ease and grace.

For me, the biggest drawback to elements was the limited ability to stitch numerous images
together to create a single composite image. I was never able to stitch more than 14 images
together at one time without crashing the software. When I switched to Photoshop CS6, I was
able to stitch 40 to 50 images together with no trouble and much faster than with PS Elements.

If you are new to Photo Editing, I would strongly recommend PS Elements as a starting place.
For $100 you have a program that may satisfy your needs for many years to come — no monthly
subscription.

For a little more money — currently $150 — you can get Photoshop Elements and PS Elements
Premiere. PS Elements Premiere is a Video Editing Program.

The images below are links to the software.

Photoshop Elements – Selection, Layers, Masks, Healing, and Cloning

Photoshop Elements has so many capabilities that I will limit our discussion to some features
whose capabilities are obvious advantages. Probably, the first feature of Elements that you
should learn is SELECTION. There are several ways to select and therefore isolate a part of
your image from the rest. Once isolated, that portion of the image can be edited without
affecting anything else in the image.

For example I can select a flower and then enhance the lighting on the flower and blur
everything else so that all of our attention is drawn to that flower. I can also select a portion of
an image that is in a dark shadow and then brighten the shadow so that the details show through.
Or I can select a portion of one image and add it to a different photo. Using Selection, I can
change the color of an object such as a car or flower. If I have an image with layered objects like
a mountain range, I can select and individually adjust the lighting and color of each ridge or row
to enhance the effect.

Probably the greatest power of Elements is the ability to create LAYERS. The simplest analogy
for a layer is to imagine a set of transparencies with one object on each sheet. If the individual
sheets are then stacked together with a light source behind them, you will see a single image
containing all the objects on all the sheets. A layer will be the equivalent of one of these
transparent sheets.

There are many types of layers. One important group of layers is called ADJUSTMENT
LAYERS. An adjustment layer adjusts things like highlight and shadow lighting, color and hue,
etc. These layers are standard layers in Elements.

Most layers are layers that you create for a variety of uses. One example is to create a layer that
contains an object that has been selected – such as a flower. If this flower is placed on its own
layer and its image is optimized using the editing tools in Elements, that layer can be saved and
used as an entity unto itself. It can be made smaller or larger. The width can be changed
compared to the height, thus distorting the shape. It can be duplicated to create a bouquet of
flowers. It can be flipped 180 degrees or rotated. It can be added to another photo. It can be
made transparent. A layer is actually a set of instructions about manipulating the image. Layers
can be turned on and off so that you can see their effect on the overall image or produce different
versions of an image based on which layers are active.

Elements also contains a set of FILTERS. A filter is something that applies a certain effect to
an image. Thus, a layer can be made to look like an oil painting, or a poster, or wrapped in
plastic or an object with beveled edges. All of these effects can be applied to the entire image,
but if they are applied to a layer, the layer can be turned on or off. In this way the original image
is never changed. The layer simply contains a set of instructions about how the image should be
displayed. This is part of the non-destructive capabilities of Elements. An image saved with all
its layers can be easily re-edited any time in the future by simply modifying the layers. On the
other hand, if the same adjustments had been applied to the original file, the pixel data would
have been irreversibly changed. The only option would be to start over with the original file.

Layers have another feature that is very useful. It is called LAYER MASKS. A layer mask is
like a silhouette that blocks out part of the image and exposes the rest. Where the mask is white
the image is visible, and where it is black it is hidden. To work with layer masks, you paint over
the mask with black or white thus exposing or covering specific details. This technique can be
used to combine different exposures of the same image or carefully combine a landscape image
with a different sky – perhaps one with more clouds. If you make a mistake in painting the
mask, you simply change colors and fix your mistake. In other words if I paint over an area with
white and I decide that I exposed too much of the underlying image, I can just change the color
of the brush to black and fix my mistake.

HEALING is another great feature of Elements. If you have dust on your lens and the image
shows dark spots in the sky, you can use the healing brush to remove the dust and replace it with
pixels that blend perfectly with the sky. Or imagine that you capture a great panoramic image
only to discover that there is a tree branch in the foreground that is distracting. The healing
brush can totally remove the tree branch and replace it with pixels that blend with the rest of the
image. Removing power lines is another great application for this tool. In most cases, the effect
of the healing brush is barely noticeable unless the image is greatly enlarged.

A closely related tool is the CLONING STAMP. In this case, a portion of the image is
duplicated at another location in the image. Imagine that you took a photo of a building with its
empty parking lot in the foreground. The lines that separate the parking spaces might become a
serious distraction. In this case you can clone the pavement and paint over the white stripes thus
totally removing them from the image. Another way to deal with the distraction is to clone a
bush and paint bushes over the parking lot thus totally changing the feel of the image. This
feature can be a lot of fun and artistically rewarding as you clone a portion of an image and then
select a different portion of the image to provide cloned objects that make the entire image look
more realistic.

Photoshop CS6 and Photoshop CC vs Photoshop Elements

This short overview of Photoshop Elements barely scratches the surface of its capabilities but
should give you an idea of why you might want to consider buying it. With so much capability,
you might ask why anyone would choose to pay a monthly subscription for the full version of
Photoshop. The simplest answer is that Photoshop CC is Elements on steroids.
In general, the editing functions are enhanced, there are more filters, many features are
automated, and most things work faster. In addition, the full program will always have features
that Elements does not. For example, layers were not a part of the Elements program until
Elements 8 and layer masks were added in Elements 10.

The additional capabilities of Photoshop CC are so extensive that I will not discuss them here.

Photoshop Lightroom

Photoshop Lightroom has become the most popular photo editing software of all time.

Lightroom has overtaken Photoshop in sales and popularity because it is an ideal product for
serious enthusiasts as well as professionals. We will be talking about WORKFLOW in the next
chapter. Lightroom is your best friend when it comes to simplifying and automating your
workflow for maximum efficiency.

As previously mentioned, RAW files have to be converted to another format before they can be
viewed. In Photoshop, the RAW file needs to be processed by a conversion program before you
can work on it in Photoshop. This conversion program allows you to make adjustments to the
file such as exposure, contrast, sharpness, and vibrancy. These adjustments can make a dramatic
difference in the final image quality and detail but are time-consuming if you are doing it to
every image that you capture.

Lightroom, on the other hand, will preview RAW files before importing. By previewing the
RAW file, you can sort through your images and choose your best before importing them to
Lightroom. This can be a great time-saver. Once the chosen images have been imported, all the
previously mentioned adjustments can be made. In this case, you are only making adjustments
to your best images. This is one of the many reasons that many professionals recommend
Lightroom as your first choice in photo editing.
In order to fully appreciate the file management capabilities of Lightroom, you need to
understand your alternatives.

When I first decided to turn pro, I realized that I needed to organize my files for easy retrieval. I
first used the Organizer portion of Photoshop Elements. It has some nice features such as
assigning keywords, grouping images, and stacking similar photos to simplify organization. I
soon discovered that any image edited in Elements was automatically saved in the organizer.
Sometimes I will spend hours editing a photo, only to discard it because I was not able to get the
results I had hoped for. This was particularly true when I was still new to Elements. I soon had
many versions of my image in the organizer with no idea which ones I had intended to keep.

Sorting through and eliminating duplicates and near-duplicates became quite a chore. I also soon
discovered that the Elements Organizer couldn’t find many of my images. This is because I had
moved a file on my computer without going through the Elements Organizer. As I later learned,
Photoshop and Photoshop Elements Organizers save a thumbnail of the file that acts as a pointer
or link to the actual file. The images are never actually in the program but saved elsewhere on
the computer.

Another problem that developed was file size. When you edit images in Photoshop – especially
if you use Layers (another future topic) – the file can become quite large. I have some files that
are over a Gigabyte. Beyond a certain point, the Photoshop Organizer will tell you that the file is
too large to display. In this case, you can’t even see the thumbnail. Before too long, most of my
images were too large to display. That is when I decided to abandon the Organizer and start
over.

My next step was to create a number of folders on my desktop in order to group my images into
categories. I created folders for Portraits, Landscapes, Architecture, etc. Then I realized that I
needed additional folders for unedited images. Then folders for my website images. Then
folders for master copies, RAW files, jpegs, tiffs, etc. For optimum results when printing, the
image should be sized to the exact size of the print in an editing program such as Photoshop
before sending it to the printer. I now had folders for 8X10, 11X14, 12X18, etc. The more I
learned about photography, the more folders I created.

Lightroom to the rescue! Without getting into the details, I will just cover some of its best
organizational features. When you import a RAW file into Lightroom, you can choose to
automatically save it as a DIGITAL NEGATIVE (DNG) file, in which case the original RAW
file will be converted to DNG without any loss of data. In addition, Lightroom will
automatically place a duplicate DNG file on an external hard drive of your choosing. Thus, you
can archive the original RAW data of every image that you import into Lightroom without any
extra effort.

As previously mentioned, you can preview your images before importing. You can flag your
best images with a White Flag and rejects with a Black Flag or X. Discard the rejects, import the
rest, and sort by the White Flags for the images that you want to edit first. Lightroom also has
PRESETS – both standard and custom – so that you can make changes to your files while they
are being imported. This is a big topic, so I will limit our discussion to just a few presets.

Metadata is information that is embedded into your digital image files. The first metadata is
created by your camera when you take a photo. It includes information about the make and
model of your camera and the settings used to take the photo – exposure time, flash, aperture
setting, etc. It can even include which lens you used and the date and time that the image was
captured. Using presets, you can add more data to this embedded information, such as copyright
info, the name of your business, contact info, and keywords. Some programs save this metadata
as a separate file – further complicating the file-saving organization.

With Lightroom, you can also automatically edit your images during import. In other words, you
can create a custom preset that will adjust exposure, increase contrast, tone down highlights,
brighten shadows, and even make corrections based on the lens used. If the preset is selected
before import, all these adjustments will automatically be applied to every image imported.
Lightroom will also rename every file during importation so that you can give images from a
particular shoot a name that will be more descriptive.
Once the files are imported, you can make adjustments to one file and then tell Lightroom to
make the same adjustments to all the files in that group or just the ones that you have selected.
Lightroom also has a customizable color-coding system so that you can visually mark a file as
edited, as in process, as imported, etc. When it comes time to print, Lightroom sizes the photo to
the desired output size without changing the original. Thus you don’t need to keep multiple print
files for every image that you think you will print again.

Lightroom will also allow you to create collections of files so that related images can be grouped
together. For example, I can create a set of portraits for my website, and then a set of landscapes,
etc., and then combine all of these sets into a website collection. This function is very much like
“Playlists” in iTunes – the file doesn’t get copied or moved; it just becomes a part of a list that
can be called up and used.

Like Photoshop, the actual images are never in Lightroom, so you can’t move files around
outside of Lightroom or it will not be able to find them. The easiest and safest way to deal with
this organizational problem is to create a Lightroom Folder in your Pictures Folder in Windows
and save all image files to subfolders in this one place. With a few keystrokes, Lightroom will
also group your images into folders by the date taken. The important thing to remember here is
that Lightroom is managing your images, not storing them.

In addition to the organizational benefits of Lightroom, it has extensive editing capabilities that
will satisfy and exceed the needs of most enthusiasts. So why should you consider buying
Photoshop or Photoshop Elements? The best way to answer that is to talk about Photoshop
Elements. This program is a little less expensive than Lightroom – about $100 vs. $150 – but it
can do some things that Lightroom can’t.

Personal Note: I used Lightroom for several years before finally deciding to switch to
Photoshop for ALL my editing. When you need to do things in Photoshop that you can’t
do in Lightroom, you can move the Lightroom file to Photoshop, make the changes, and
then send it back to Lightroom. After doing this numerous times, I decided to just do
everything in Photoshop. I have never regretted this decision and have since talked to
several other professional photographers who made the same decision. The information
in this chapter about Lightroom is from my experience up until the time that I quit using
it. I have not used the latest version. Also, Adobe Bridge that is used with Photoshop
has improved and I now find it far easier to use than the filing system of Lightroom.
You have two choices with Lightroom. You can use the Creative Cloud Version or you can buy
the stand-alone version. The current stand-alone version is Lightroom 6. The image above is a
link to the software.

Adobe offers free seven day trials for Photoshop CC and Lightroom CC.
Chapter 7
SPECIALTY SOFTWARE AND PLUG-INS

There are a number of specialty editing programs that you should know about, although there are
many other similar programs available. Knowing that these programs exist and what they do
should help you to uncover and evaluate similar offerings. I have limited experience with some
of these products, so please do your own research. My only intention here is to make you aware
of the incredible diversity of photo editing software programs.

NIK Software Plug-ins

I want to start with NIK Software products. At one time these were the best supplementary
programs for use with Photoshop Programs. This segment of the market has changed
dramatically in the last five years and NIK is on its way out but is still quite powerful.

NIK makes a number of “plug-in” programs for Photoshop and Lightroom. A PLUG-IN is a
software program that is launched from within another program. So, if you are editing an image
in Photoshop and need a capability that NIK Dfine 2.0 has, you don’t have to quit Photoshop and
reopen the image in Dfine. You simply click on the button that has been added to the Photoshop
menu and continue working as if it were a function of Photoshop.

At one time, NIK programs were strictly plug-ins – they had to be added to an editing program,
like Photoshop, to work. The latest versions of these products now have stand-alone capabilities
and can be used apart from any other software.

Google purchased the NIK software in 2013 and has since discontinued its support of the
product.

The good news is that you can download the program for free. It is unclear how long this will
last.

To learn more and download your FREE copy, click on the following link.

https://www.google.com/nikcollection/

ON1 Software

I have been using the ON1 software as a plug–in for both Photoshop and Lightroom for 5 years.
I have been very happy with it and use it on a regular basis. It is often my first and only
adjustment to an image.
Over the years, ON1 has been constantly upgrading and expanding the program’s capabilities. It
now can function as a stand-alone program that performs many of the functions of Photoshop
and Lightroom.

The current version costs about $120. There is also a beta version of the next release that can be
downloaded for free at this time (October 15, 2017).

To learn more, click on the link below.

https://www.on1.com/

Topaz Labs

Topaz Labs has a set of programs that make adjustments very easy. They also make it very easy
for you to evaluate their software before you buy.

You can use 10 adjustment programs for free and purchase as many of the 18 Pro Adjustments as
you like or purchase the entire set. Each Pro Adjustment is offered as a 30 day free trial, so there
is plenty of time for evaluation.

I have seen the software demonstrated at a Photoshop Conference and it is quite impressive. I
have not followed through and tried the software myself.

You can buy individual Pro Adjustments for $20 each or about $220 for the entire set of 18 Pro
Adjustments.

To learn more click on the following link.

https://web.topazlabs.com/

Photomatix Pro

This is software that does one thing very well. It creates great HDR images. It is the preferred
software of many professionals for HDR images. HDR photography can be a lot of fun and very
rewarding, but it can also be frustrating to get the effect that you want. With Photomatix Pro,
you can use presets to try several different effects created by the same images. It is a real value
for $99 particularly if you find yourself creating HDR images on a regular basis. Photographing
the interior of homes is a perfect example of how this software can save you a lot of time and
greatly improve you results.

To learn more, click on this link. https://www.hdrsoft.com/

DxO OpticsPro 11
I have no personal experience with this software but have read great reviews. I visited the
website and watched a short video that told me very little about its capabilities. The scenes
changed too rapidly for my taste. I then read the information associated with the video images
and found that lacking as well. The information was very vague and didn’t differentiate this
software from many other products.

The good news is that they do offer a 30 day free trial. There are two versions. The price is
$129 for the Essential edition s and $199 for the Elite edition.

http://www.dxo.com/us/photography/photo-software/dxo-opticspro

Apple Aperture

Apple has discontinued its support for its Aperture software. This is no loss. It was far inferior
to any other photo editing software that I have used.

MacPhun Software

This was a Mac Only Option until recently. It is now available for Windows as well as Mac. It
is not an Apple product — just designed to work on Mac software.

There are two programs available. Luminar for $69 is similar to many other photo editing
programs. Aurora HDR for $99 competes with Photomatix Pro.

I have no personal experience with this software.

https://macphun.com/
Chapter 8
OPTIMIZING YOUR WORKFLOW

This chapter is primarily about efficiency. A photographer’s WORKFLOW is the process that
is used to create photographic products, such as prints, websites, and books. Not only are the
steps important, but the order of performing these operations is just as important.

For example, noise reduction should be done early in the process because each additional
adjustment will make noise more noticeable. On the other hand, resizing should be the last thing
done before printing because it discards image data that is then lost forever. We have already
discussed most of these things so our discussion will be fairly brief, though still quite important.

If you are not a professional photographer, efficiency might not seem to be that important. The
more images you edit, the more you will care about your workflow – professional or not. A step
overlooked in the beginning can result in hours of effort with disappointing results. An efficient
workflow is always a blessing.

The workflow that follows is mine. It may not be yours, but it provides a template that you can
modify as you see fit. My hope is to give you a starting point that reduces frustration and saves
time. After that, it is your choice.

Shoot in RAW format.

To reiterate, this is the format that any serious photographer should be using. It contains all the
image data that your camera is capable of capturing. Not a single pixel has been modified or
discarded. Sometime in the future, you may be able to process even more of the captured data
than you can today, so most professionals save their RAW files regardless of what they do with
the image after the RAW file has been converted to another format. RAW files cannot be edited
or changed in any way without this conversion step.

All cameras that are capable of capturing images in RAW format are sold with proprietary
software for converting the file to other formats. This software is rarely used because Photoshop
and Lightroom handle the file conversion much better than the manufacturer’s software.

There are many important adjustments that can only be done in the conversion software – such as
balancing shadow and highlight detail prior to conversion. These adjustments are much more
powerful than the same adjustments after the file conversion. In Lightroom, these adjustments
are not done prior to being imported, but are only available for RAW files. So even though the
process is slightly different, the adjustments are still made prior to conversion to a different
format.

Set the white balance on the camera and in an image.

This step can have a dramatic effect on overall results. If the white balance is off, you may
spend hours making color adjustments without ever achieving the desired result. The best way to
insure an accurate white balance is to take an extra step or two at the time of image capture.

First, create a custom white balance image in your camera by taking a photo of a neutral gray
image that fills the entire frame of the camera. Use this image to set the white balance using the
menu option for your camera. Secondly, capture a second copy of your image that includes a
neutral gray card. When the image is processed, the neutral gray card can be selected in the
image to set the white balance for the image. The settings that result from this step can then be
used on any other image taken under the same conditions.

Make certain that all camera settings are correct when capturing the image: ISO, Lens, etc.

I have often kicked myself for forgetting to change a setting before pushing the shutter button. It
was reassuring to me to learn that Ansel Adams occasionally made the same mistake. So no
matter how accomplished you might be, pay attention. It is easy to overlook something in the
field. Recently I was taking some photos after midnight at ISO 3200 to see how well the
camera’s built-in high ISO and long-exposure filters worked. The next day I shot about 40
images before I noticed that the camera was still on ISO 3200. So check everything, even things
that you rarely change.

Create and set up an organizational system before importing any images.

Though there are many solutions to this issue, I would strongly recommend making Lightroom
the foundation for your organizational system. Since the default location on most computers is
“Pictures” or “My Pictures,” a folder named Lightroom within the default folder makes a lot of
sense. Then you will always know where to look for any image. Get a book on Lightroom such
as The Adobe Photoshop Lightroom CC book for Digital Photographers. There is an excellent
chapter on Organization.

Identify images to edit.

Use Lightroom’s selection tools to evaluate your previewed images before importing. Discard
rejects; then import the rest.

Import Images.
Again, Lightroom automates this process through the use of presets that add important
information to your metadata, convert your RAW files, rename imported files, make
adjustments, and save your imported files in two locations. Though you can save your imports in
a variety of formats, I prefer to import and save as Digital Negatives (DNG) because there is no
loss of data associated with this format and sidecar files are eliminated because the metadata is
embedded in the DNG.

Select your best images for editing.

Apply RAW-based adjustments, including PreSharpening.

These are adjustments that can only be made to RAW files. The sliders and buttons will be
inactive when you are working with other file formats. These adjustments include White
Balance, Exposure, Fill Light, Brightness, Contrast, Vibrancy, Saturation, Clarity and
Sharpness. Don’t worry about remembering which adjustments are RAW-based. Your software
will only show them for a RAW file. If they are active, you can use them.

Apply Lens-Based adjustments.

Lightroom and Photoshop allow you to select profiles for your lenses so that you can make
corrections for common lens defects.

Crop the Image.

Though there is disagreement among photographers as to the best time to crop images, I think
that this is a good position in the workflow. Some people prefer to optimize the image before
discarding any portion of it so that they are certain that they have made the best cropping choice.
The other argument is that you may be compromising your adjustments by including image data
that will eventually be discarded.

For example, many adjustments are based on overall balance of tone, color, brightness, etc. If
you include data that will eventually be discarded, the results will be different than if you adjust
only the cropped-image data. Some people even crop their images before making any RAW
based adjustments. The optimum situation is to develop enough mastery of the craft that your
compositions do not require cropping. The cropping is now reversible in Photoshop and
Lightroom so you don’t have to worry about losing data.

Apply Noise Reduction.

Every digital camera creates noise. In general, the larger the sensor the less noise produced.
Image noise has a grainy look that is more apparent in portions of the image that are neutral or
smooth – like the sky or water. Most editing adjustments add noise to the image and make the
existing noise more apparent. For this reason it is desirable to reduce the noise early in the
process.
The downside to noise reduction is that it also softens the image and eliminates some of the
detail. Another way of thinking of it is that it blurs the image enough that pixels blend together
making a smoother image. For this reason, noise reduction is always a tradeoff and should never
be a routine adjustment. It should only be used if the noise is distracting.

Create Panoramas and Stitched Images.

Panoramas are created by “stitching” images together with software. Common practice
recommends that there should be a 30% to 70% overlap of image data between adjacent images.
This allows the software to accurately align the images. The panorama stitching feature can also
be used to combine any series of related images to create a larger image of high resolution. So
don’t just think of this as a tool for panoramic landscapes.

I often take a series of photos with my 50mm lens and then stitch them together to create an
image much larger than the view that I can capture with a single image. The result is a very large
and high-resolution image. Because of the size of my camera’s sensor, any image that I capture
with a single shot will be 19.2 inches by 12.86 inches at 240 ppi. Through the use of stitching, I
have created some images that are four feet high by six feet wide at 300 ppi.

Merge HDR images and tone mapping.

The term HDR (High Dynamic Range) refers to multiple exposures of the same image merged
together in such a way that the exposure is more balanced. The most common use for this
technique is when the primary subject of the image is in the shade and there is an unavoidable
area of bright sunshine somewhere in the image. When we look at an image, our eyes are drawn
to bright objects first and then scan the image in a pattern that generally goes from the upper left
corner to the bottom right corner, unless something else attracts our attention. For this reason,
bright areas of the image need to be toned down, unless they are the main subject.

To create an HDR for the example given we would take a photo of the subject at a normal
exposure for the mid-tones (middle of the range of brightness in the image), an overexposure to
get the details in the shadows, and an underexposure to get the details in the highlights (bright
spots). The three images are then blended by the software – Photoshop – so that everything in
the image is properly exposed. Our eyes do this naturally, so a well-executed HDR can look
very natural.

Most Digital SLR cameras can be set to take three images in rapid succession at different
exposures. You can set the degree of difference in the three exposures. If you are shooting
landscape on a windy day your image will be blurred wherever leaves, grass, and tree branches
move. In spite of the fact that the images were captured in rapid succession the alignment will
never compensate for movement between shots.

Some professionals don’t consider this a valid technique while others love it. My own
experience is that it should be the exception rather than the preferred technique. It has a
tendency to over-saturate your images and give them a garish look. If you are attracted to this
technique, in addition to Photoshop there are some dedicated software programs that do nothing
else. Some people accomplish the same thing more realistically by using layer masks in
Photoshop.

Retouch dust and other imperfections.

This is where you want to use the healing brush and cloning stamp in Photoshop to remove any
unwanted items such as dust spots.

Balance light and color.

Check your image for color cast such as a blue tint over the entire image. This is not always a
bad thing but needs to be appropriate for the image. For example a blue cast might actually
enhance the effect of a winter or moonlight image. For fall landscapes and portraits, a warmer
color is needed. Start by adjusting the color temperature for the entire image and then inspect the
image to see if there are areas that need further adjustment. Finally, make sure that the
brightness is properly adjusted.

Also, look for small highlights that you may have overlooked. I had an image that I really liked.
Many people had seen it and complemented it. I thought that it was one of my best images.
When I showed it to a master photographer, his first comment was “You should fix the lens
flare.” I had never noticed it before, but once it was pointed out, it was all that I could see. In
another image there was a person dressed in white directly behind my subject. Again, once it
was pointed out to me, I had to agree that it was very distracting. Approach each image as if you
are seeing it for the first time. Any unintended spot of bright light will distract from your subject
matter.

Stylize the Image.

This is where you would introduce special effects such as vignettes, or one of the many artistic
treatments such as Poster Edge and Fresco.

Final Cleanup

Take time for one final inspection of the image for content and defects. Is your eye drawn to the
main subject? Are there any objects in the image that are distracting? Do the colors look
realistic? Did you clean up any dust or stray objects? Overall, are you satisfied with the image?

Save Master Image in Photoshop.

Before preparing the image for printing or the web, save a master image.

Resize Your Image in Photoshop or a Similar Program.

In Photoshop, select “Image” from the “Image” menu and then “Image Size.” Uncheck the
“resample” box and check “constrain proportions.” Change the resolution to 240 ppi and record
the dimensions of the image. Now change the resolution to 360 ppi and again record the
dimensions of the image. Any image size within these limits can be achieved by changing the
resolution without resampling.

If your image is smaller than the image produced by 360 ppi, use Photoshop to “resample” the
image to actual size before printing. This process will discard pixels, so save the new image file
under a new name for future reprints only. Include the image size in the name of the file.

If the desired print is larger than the size at 240 ppi, you can use Photoshop to resize, but other
specialty programs will give better results for enlarging.

For web images, reduce the resolution to about 100 ppi (72 ppi is the minimum) and the
maximum dimension to no more than 1000 pixels. If you are using Lightroom, it will
automatically make the proper adjustments for print and the web without altering the original
file, thus eliminating the need to keep a series of “print” or “web” files. This is an incredible
time-saver as well.

Sharpen Resized Image in Photoshop.

It is best to wait until you have resized an image to sharpen it. Some sharpening can be done at
the beginning of the process with the RAW file, but the adjustment is usually not significant, so
that no additional noise is introduced and added to the image. Since there are no more
adjustments after the final sharpening, the noise that you see will be the noise that you get. The
most accurate evaluation of noise is done with the actual size image.

Save Sharpened Working File.

Save the sharpened image as a working file – as opposed to the master file we saved earlier.
This working file should be the starting point for any future adjustments to this image of this
size. Again, having the image size in the file name is helpful here.

Print or Upload the Image to the Internet.

As I previously mentioned, I no longer use Lightroom to process my images, but I have

included this Workflow Process based on Lightroom because it provides a useful road map
and many people will choose to use Lightroom — it is the most popular photo editing
software.

I organize my photos with a filing system that is not tied to Photoshop or Lightroom. The
current version of Photoshop Bridge allows me to view the contents of any folder and choose
which images I wish to open and edit. I find that this system is more manageable for me and
the way that I like to work.
All other aspects of the workflow are still accurate.
Part III – Displaying Images
Chapter 9
DISPLAYING YOUR DIGITAL IMAGES

Now that we have learned how to create great images, it is finally time to do something with
them. Oddly enough, this is not the easiest part of the process. There is much more to printing
than you might expect and there is also a lot to learn about actually displaying your images.

The most obvious and traditional way to display your images is to print, mount, and frame them.
There are also a number of additional options available. Stretched canvas and metal prints have
become very popular, but there are other possibilities as well. With this in mind, let’s just start
with prints on photo paper.

Before we take on the task of actually printing your images, it might be worthwhile to mention
that a printed image is very different from an image on a screen and can be greatly enhanced by
the photographer’s knowledge of printing. This topic is much more complex than you might
think. Rather than summarizing what I have learned, I think that you will gain more from
reading a book by an expert on the subject. You will be amazed at what you will learn and how
you can enhance your images for printing. The book that I would recommend is Digital Fine
Art Printing.

Printers

As previously mentioned, most photo printers today are capable of printing the entire Adobe
RGB gamut of colors. This takes the worry out of your purchase as long as your printer is
classified as a photo printer. There are numerous brands on the market that will do a good job.
HP dominates the inkjet printer market, but Epson is the preferred brand when it comes to photo
printers. I have a Canon printer that creates great prints, so there is no one answer to this
question.

There are definite advantages to buying an Epson printer for your photography. The primary one
is that there is plenty of help available for Epson printers that are used for photography. The
help comes in forums, books, blogs, and magazines from sources other than Epson as well as the
standard support from Epson itself. The situation is somewhat analogous to the way that Adobe
dominates the photo-editing market. There are other products available but every serious
photographer uses Photoshop, no matter what other products they own. So, even though I have
never owned an Epson printer, I would definitely buy one if I was in the market for a photo
printer.

Before you purchase a photo printer, you need to make a basic decision as to print size and how
you plan to use your printer. If you only want to print 4X6 and 8-1/2X11 prints to proof your
work and use a commercial source for larger prints, a relatively small and inexpensive desktop
printer will serve your needs. If, on the other hand, you want more control over the printing
process, you will want to buy a large-format printer. Epson totally dominates this second
category. You can now buy desktop printers that will print up to 17 inches wide. These printers
are only a few inches wider than normal (letter size) desktop printers. They also can print from
rolls of photo paper so you can actually create panoramic prints up to 17 inches high.

Let’s step back to our first option, and then we’ll talk more about the second. Unless you are an
established professional, you will probably want to outsource most of your printing needs. You
will still need a photo printer that can produce a high-quality print so that you can optimize you
images for printing.

What most people don’t realize is that the paper and ink used have a dramatic effect upon the
final image. Every type of photo paper absorbs ink differently and every printer model applies
ink differently. Then there is the issue of the ink used. When you go to a typical retail outlet to
have your images printed, they will be using inexpensive materials. As a result, your prints will
begin to fade in a few days. This might not be apparent to most people but it is, nevertheless,
true.

As a serious photographer, you will want to use ARCHIVAL QUALITY materials. This will
result in prints that will maintain their quality for over two hundred years. This might sound like
overkill, but if you are selling fine art photography your images will increase in value over time.
Your clients must know that the image that they are purchasing will not degrade in their lifetime
or that of their heirs. Also, if the image is to be a family heirloom, it must stand the test of time.

Canon and Epson both offer papers and inks that have an archival rating. If you use these
materials, you can rest assured that your images will not begin to lose their impact over time.
My Canon printer has built-in drivers for Canon papers and ink so that I can be certain that I am
getting the best print possible with my particular printer and supplies.

If you decide to use paper and/or ink from a source other than your printer manufacturer, you can
go online and download drivers for the materials that you use. Personally, I prefer the ease of
just using authentic Canon supplies. If you purchase an Epson printer you should likewise use
their supplies for optimum results. It is impossible to critique the performance of any printer
unless it is using the proper materials and driver.

If you decide to buy an inexpensive desktop photo printer, you should check a few things first.
Find out what size prints it will produce. My Canon printer only prints 4X6 and letter sized (8-
1/2X11) prints. These two options are fine for my needs. The 4X6 prints let me verify color and
detail, and the larger prints – 8X10 or 10-1/2X7 – are large enough to thoroughly inspect my
images, print archival quality images for sale, and create a respectable portfolio.

Don’t judge printers in this class by their price. The manufacturers make most of their profits on
the ink and paper. They could easily justify giving the printers away if it increased ink and paper
sales. So read a few reviews and make sure that the printer has the capabilities that you need.

Though large-format printers are not for everyone, you should at least be aware of your options.
With large-format printers, you can have total control over your images up to the maximum size
for the printer that you choose. Many professionals own Epson desktop printers that allow them
to print up to 17 inches wide. With this choice, they can produce the majority of their prints.
The smaller the print, the more that you are likely to sell. They then outsource anything over that
limit. Professionals who sell a lot of large images – 20X30 and larger – will often own an Epson
printer like the ones that you see at retail photo labs. One of the great advantages to these large-
format printers is that they will print the entire range of standard print sizes and your choice of
papers is much greater.

I have included a link to the Epson Website for more detailed information on wide-format
printers. The image below shows the two least expensive Epsom Wide Format Printers. Epsom
sells 36 different models. The following image is a link to their website.

As should be clear by now, the topic of printers must include paper and ink, so it is important
that you use archival quality supplies. At a more basic level, you might ask whether to use
glossy or matte paper. My experience has been that glossy paper is best for landscapes and
architecture. Matte gives a softer image for portraits, sometimes looking more like a painting.
Everything else is a matter of personal preference.

Outsourcing Printing

If, like most of us, you will be outsourcing some or all of your printing jobs, you will need to
verify a few things first. You need to print the image yourself to see how the printed image
compares to the one on your monitor. Monitors are backlit. In other words, there is light coming
out of the monitor so that you can see the image. With a print, the image is reflected light and,
therefore, usually darker than the monitor image. Study the printed image thoroughly under
good light to be sure that it is bright enough. If not, adjust the brightness and reprint until you
have discovered the proper level. Lightroom has a brightness adjustment on its print options for
this very reason. I have found a value of 30% usually gets me in the ballpark.

Next you need to request several proofs of some of your images from your supplier to see how
their images compare to yours. I recently tried a new supplier. They only offered watercolor
papers or Gicleé on Canvas (a topic soon to be covered), so I requested proofs of four of my
images. As suspected, the proofs were all very flat. Watercolor papers absorb ink like a sponge
and tend to produce a very dull image. For certain images it is fine, but it is not an all-around
good choice. Their Gicleé on Canvas images are just fine, so they are still an option for certain
situations.

You may have a local print shop that specializes in fine art printing, or you may have to find an
online source. In either case, confirm that they use archival materials. Next, sample all their
papers and have them provide proofs of some of your images. If you are satisfied, it becomes a
simple matter of sending them files over the internet or handing them a flash drive with your
images on it.

When I work with my local printer, I usually give them a tiff file with a 300 ppi resolution. This
can be a very large file – not a problem when the image is transferred from a flash drive. When
you deal with online sources, you might only have the option of sending a high quality jpeg
image. This is because the files are much smaller and therefore faster to upload to your vendor’s
website.

I have been emphatic about always working with RAW files because of the fact that jpegs
discard image data that is irreversible. When it comes to printing your image, a jpeg is fine
because it will not be manipulated in any other way. The file that you send is the file that is
used. There is no further loss of image data.

Two excellent online sources are Bay Photo Labs (www.bayphoto.com) and H&H Color Labs
(www.hhcolorlab.com ).

Print Materials

This is probably a good time to return to the topic of Gicleé (zhee-klay) on Canvas. Canvas
prints have become very popular in recent years and Gicleé on Canvas is considered the top of
the line for canvas prints. Gicleé is simply the highest quality ink jet photo printing available at
this time and it is always done on canvas. As I mentioned previously, the material on which the
image is printed has a great deal of influence on the final product, and the ink and printer driver
must be matched to the material. So not all canvas prints are Gicleé but all Gicleé are canvas
prints. Gicleé on Canvas photographs often look like paintings. Some of my images have even
fooled top-notch professional photographers into thinking that they were paintings.
Images printed on canvas can be mounted and displayed in a frame just like any other photo, but
they are usually stretched over a frame called “stretcher bar.” Stretcher bar comes in a variety of
thicknesses (this determines the apparent thickness of the finished product) but 1-1/2 inch seems
to be the preferred standard. Many artists consider anything less to be unacceptable as fine art.
Some artists are now using 2-inch stretcher bar which is generally accepted as even better.

When an image on canvas is stretched and wrapped around the stretcher bar frame, the canvas
size has to be larger than the image size to accommodate wrapping and fastening the canvas to
the frame. The canvas size must be 4 times the stretcher bar depth, in each direction, larger than
the image. For example, if your image is 12X18, the canvas size for a 1-1/2 inch stretcher bar
must be (12+6) X (18+6) or 18X24. An image that is 12X18 is 216 square inches. The canvas is
18X24 or 432 square inches – twice the size of the image. Since you pay by the square inch of
canvas for the printed image, your cost will be twice as much as a simple 12X18 print on
canvas. You will also pay extra for stretching and fastening. If we used 2-inch stretcher bar, the
canvas size would be (12+8) X (18+8) or 20X26 which results in a canvas size of 520 square
inches – 23% more expensive than the 1-1/2 inch bar.

Canvas prints are often displayed without a frame, but they can be framed if you wish. Once
framed, they will look very much like a painting on canvas. When you order a stretched canvas
print, you will have several choices as to what to do with the canvas around the sides of the
print. The typical options are black, white, a specified color, or gallery wrap.

GALLERY WRAP means that the image continues around the sides of the frame. Some people
are fine with cropping the image to accommodate this style of wrap but most people will add
detail to the sides rather than loose part of the image. You can purchase software to do this for
you, or you can do it yourself. One popular style is to create a mirror image of the last few
inches of the image. Other approaches include airbrushing a gradient that fades as it moves
away from the image.

Another print option that has become very popular recently is METAL PRINTS. In this case,
the image is printed directly onto a thin sheet of aluminum. The result is a very durable image
that has great depth of color. Like canvas prints, metal prints are normally displayed without a
frame. The cost per square inch is higher than Gicleé on Canvas but you don’t have to pay for
anything beyond the image size. A 12X18 print will be 216 square inches, period. The only
optional costs are a small fee to round the four corners and a mounting plate that supports the
image about a half inch from the wall. For most images, this added cost will be around $10. As
the image size increases, the cost of the mounting plate increases as well.

I prefer metal prints with a glossy finish for landscapes and flowers. There are also other
finishes available. We use these prints in our bathrooms – they are waterproof even though the
suppliers don’t make that claim. I wouldn’t want to submerge one for long periods but normal
bathroom moisture has no effect on them. Bay Photo (www.bayphoto.com ) is an excellent
source for these prints, and they do offer a number of framing options if you would prefer a
frame.
Some people print their image on a metal foil and then mount that foil to a piece of backing
board. Although it is less expensive than metal prints, it does not always produce a professional
looking image. There are sometimes wrinkles and bubbles in the foil where it didn’t bind
completely to the backing.

If you want to learn more about the variety of photo papers available and what they are used for,
I would suggest that you visit the Epson website by following the link below. Epsom offers 347
paper choices.

https://epson.com/For-Work/Paper/c/w6

Framed Prints

Let’s assume that you have an archival quality print that you want to frame and display. What
are the decisions that you will have to make? Your first decision will be the type of backing that
you give the print. Dry mounting is a process for adding a firm backing to the printed image.
This will insure that it never sags in its frame. There are other mounting processes used that are
not as permanent, so be sure to ask a few questions before committing to a mounting process.

The next decision will be matting. First of all, you should know that not all mats are created
equal. Like all the other materials we have used, be sure that the mat is also of archival quality.
“Acid-free” is another term used for high-quality archival materials.

There are also a number of other decisions that have to be made. The matting itself can have
many different textures available. Some images are enhanced by a mat that has a texture similar
to burlap while others look better with a smooth finish. The next decision point is color. I have
found that choosing a color that is dominant in the image is often a good starting point. If that
color is at the center of the image, even better.

Many people assume that white is the norm, but colored matting will usually enhance the image
more than white. Most people are surprised to see that black often works well to bring out the
colors in the image.

The final decision about matting is single, double, or triple. A single mat will have a tapered
edge along its interior opening. A double mat means that there is a second mat under the main
matting that extends some distance – usually a quarter- to a half-inch – inside the top mat. It is a
different color than the first to offer contrast and a clear border around the image. A triple mat
uses a third mat under the first two for greater impact as a border.

Your next decision will be the frame itself. You can buy some nice standard-size frames at many
retail outlets for a very reasonable price. If you choose this approach, just be sure that the overall
dimensions of your matting fits one of the standard sized frames. If you decide to go with a
custom frame, your costs will go up dramatically, but so will the appearance of your framed
image. Custom framing is sold by the inch of length and can be shockingly expensive – several
dollars an inch. So take your time with this decision and draw upon the experience and expertise
of the framer that you are working with.

Your final decision will be the type of glass that covers the image. Standard glass is very
inexpensive. Non-glare glass with UV protection is much more expensive, but not prohibitive;
use this when the image will be exposed to sunlight. The top of the line is museum-quality glass
which is nearly undetectable in the final product. It has no glare at all and gives maximum
protection to your image. It is very expensive.

Web Images

As previously stated, web images must be jpegs so that they can be loaded quickly. They are
normally 72 ppi. Thus if you want to display your images on a website, you have to convert
your files to jpegs and resize them. This can be a tedious task involving another layer of folders
to organize you web files. Once again, Lightroom is your friend. Not only will Lightroom
automatically resize your files for the Internet, but it will add watermarks and copyright data
automatically. It also eliminates the need for additional organizational schemes.

Photo Books

I know that you are probably getting tired of hearing about the wonders of Lightroom, but it
provides a great solution for creating photo books. You simply gather the photos that you want
to use in the book into a collection and choose the book tab on the main menu. You will be
given a choice of five sizes for the book as well as an estimated cost based on the number of
photos in your collection. This estimate may change as you work on the book and will be
updated when you are finished.

You can choose from several layout templates and have Lightroom automatically import your
images into the book. You should have your cover image as the first image in the collection and
arrange your other photos in the order that you think you want to display them. If you change
your mind about the order later, it is a simple case of dragging images to the desired location.
You can have one or several photos on each page. You can also choose different features for
each page – you are not stuck with one way to present your images throughout the book. You
can vary the size of your images as well as the background, and you can spread an image over
two pages. You can add text in a number of different fonts and add text styling and special
effects.

Once you have finished the book you can just name it and have it printed by Lightroom’s
affiliate – Blurb. If you allow Blurb to print their logo on the last page of your book, they will
give you a discounted price. Your other option is to export the file as a pdf file and have it
printed somewhere else. Overall, it is a rather simple and user-friendly process.

Slideshows

Lightroom, Lightroom, Lightroom!! I know that I sound like a broken record, but it really is a
great way to create top-notch slideshows. With Lightroom, you can add custom backgrounds to
your slides, shadow effects, and background music. You can add text to your images as well as
your logo or watermark. If the slideshow has been created for a client to choose images that they
want, Lightroom can display the filename for each image. You can even have Lightroom adjust
the display and transition time between images so that the slideshow and music end at the same
time. You can also save the slideshow in several formats to share with others.

Pixoto.com

I have saved this tip for last because it covers several topics of interest.

If you want to sell your images in a gallery or online, you need to know which images have the
greatest appeal. When I first joined a gallery, I spent a lot of time, effort, and expense creating
matted prints of various sizes as well as large canvas and metal prints for about 100 images. I
had no idea what would sell. Over time, I learned that most of my sales came from less than a
dozen images. I could have saved a lot of time and expense if I had known this from the start.

Pixoto is the world’s largest photo contest. When you upload your images to Pixoto you can
have them compete against other images in the same category — landscape, flowers, portrait,
etc. You image will then be shown next to another image in the same category and people will
vote for which image they like the best. After numerous duals you will have a good idea of how
your images compare to others and which of your images have the greatest appeal to other
people.

Pixoto has the least expensive canvas prints that I have found. They also have several
inexpensive framing options. They do not say that the canvas prints are Giclee but they look just
as good and do not fade.

You can sell your images on Pixoto. You have two options in this case, you can sell canvas
prints or stock images.

Pixoto is a great source for stock photos.

Part IV – Selling Images
Chapter 10
CHOOSING A PHOTOGRAPHIC SPECIALTY

Most branches of photography are associated with documentation. The photo-journalist

documents social and cultural events that form the background of our lives. Wedding and event
photographers thoroughly record momentous occasions in our lives. Portrait photographers
create heirloom images that may be passed down from generation to generation. Commercial
photographers create advertising images as well as thoroughly documenting product
development and test results. Scientific photographers use techniques such as high-speed
photography to help us understand things that happen too fast for the human eye to dissect. The
possible uses of photography are endless, but can be placed in general categories for the purpose
of understanding the associated characteristics of each.

The main reason for this overview is to highlight the fact that the equipment used and personality
required for each branch can be quite different.

For example, a Portrait Photographer may work in a studio more often than in the field. The
studio helps the photographer to control the environment and the lighting but involves an
investment in equipment that some others might not have. There is the studio itself, with
maintenance and utility costs. Lighting equipment is very expensive and the options are
staggering. There are reflectors, softening filters, light diffusers and sometimes assistants to
consider. Field work offers the possibility of a more realistic and comfortable environment.
Children and pets tend to respond very well to a natural setting in which their personalities can
become a larger part of the portrait.

A Wedding Photographer goes to the action. There are very expensive lenses designed
specifically for taking portraits in this circumstance. As the art has progressed, the traditional
few poses have been replaced by hundreds or even thousands of candid shots throughout the
ceremony and reception. Some of these images are captured from a significant distance in order
to not interfere in any way with the festivities. The photographer must deal with the ambient
light in these circumstances, adding another level of challenge to the task at hand. Equipment
must be highly portable. The photographer also has to have the ability to create rapport with the
bride – the client – on a day when her stress level might have peaked. This is a talent in itself.

A Photojournalist needs to be traveling all the time and be generally “on-call” for the big story.
He or she has to have exceptional skill as a photographer because the anticipated event may
happen very quickly and with little warning. Decisions have to be made in an instant, or a great
moment might be lost forever.

Nature and Wildlife Photographers of the past made us aware of the beauty and fragility of the
natural world. Because of their efforts and success, this has become a very difficult and
competitive market. Amateur photographers with high quality equipment love taking photos of
landscapes and animals. With Flickr, Facebook, and YouTube, their images are all around us. It
takes a discerning eye to recognize the difference between a professional image of some of these
cliché shots and a high-quality snapshot. The result is that the professional must be more
creative in capturing, processing, displaying, and marketing his or her images.

Fine Art Photography is the most difficult category to define and, in many ways, the most
difficult in which to find success. Part of the problem is deciding when a great photo becomes
Fine Art. Some people would say that Ansel Adams was a landscape photographer, but many
others would say that he was a Fine Art Photographer. Adams himself spent his whole life
promoting the idea that photography is just as much art as other forms of visual presentation.
Ultimately, the fine-art photographer needs to find an audience and following in order to be
successful.

The competition in the world of commercial photography is extreme and only a select few will
make the cut. Success depends on gaining recognition and winning competitions but a few big
jobs can create a very lucrative success story.

Before you make a final decision on your chosen niche, consider how the different subsets fit
your personality and lifestyle. A nature and wildlife photographer will spend a great deal of time
alone and must have great patience in order to wait for just the right light and event. A
photojournalist must be ready to travel anywhere in the world on a minute’s notice, knowing that
life-threatening situations might be part of the assignment. A portrait photographer must relate
well to people in order to get them to reveal their unique qualities. A wedding photographer
needs to be able to handle chaos as well as relate to people. He or she must have the skills of a
portrait photographer, the instincts of a photojournalist and the creativity of a fine-art
photographer. A fine art photographer needs to be able to instill trust in clients since their
purchase often involves the expectation that the artist’s work will gain value over time.

While each of these specialties requires a solid knowledge of photography, they each have their
own challenges, equipment, and channels of distribution. The greatest opportunity for breaking
into the ranks is wedding photography. It is also probably the most lucrative. Portrait
photography also offers a lot of opportunity if you can define your niche – children, pets, class
photos, business executives, politicians, etc. Photojournalism and commercial photography can
be very lucrative if you manage to gain enough recognition to be chosen for the best
assignments. The other specialties require a lot of dedication and creativity, and maybe even a
little luck, to become successful. They have their own rewards on other levels.

No matter what you choose to do, you will be faced with tough competition and marketing
challenges as well as the constant need to stay current with technology and techniques. Much is
expected of a professional in a field saturated with amateurs.
Chapter 11
PRICING FINE ART PHOTOGRAPHY

Pricing your work is always difficult, but in the case of fine art there are some additional
challenges. If you decide to specialize in Wedding Photography or Portrait Photography it is
fairly easy to determine the going rate by researching your competition. With fine art
photography, your product’s value depends greatly upon its perception as art. You have to
develop a following and reputation as an artist in order to achieve any kind of financial success.
If you are successful, your prints will increase in value over the years and your new offerings
will have a higher initial value as well. Your buyers are banking on your success when they buy
your work. If you become successful, their investment appreciates. It is a very symbiotic
relationship between a fine art photographer and his or her clients.

So where do you start? My recommendation is to start by knowing what it actually costs you to
produce a print of a certain size. You would be surprised at how many people overlook this
obvious step. They simply sell their prints at the going rate in their local market. The problem is
that the going rate might not accurately reflect the quality of your work.

The average consumer doesn’t know a lot about photography or art, so they have no way of
knowing what they are paying for. They only know what they like at the moment of purchase.
You can choose to sell high-volume items such as note cards and calendars, or you can choose to
sell a few high-quality images. If you choose the later approach, you need to help your
prospective buyers to understand why your images have greater value. First make a commitment
to excellence. Use only top quality materials and label your images as Archival Quality. You
might even want to have a display or brief printed explanation included with each print
explaining what archival quality means.

People have to see your work in order to know that it exists. A great website is an asset, but it is
not the way that people will learn to appreciate your work. Exceptional images look better in
large prints. People are able to see and appreciate the attention to detail and the subtle variations
in color and tone. None of these things can be conveyed with a low-resolution jpeg on a
computer monitor. Therefore, you have to find a way to let the world see what you have to
offer.

You might convince a local gallery to display some of your images. You might join an artist’s
co-op. Or you might participate in art-and-craft shows. You can also gain some recognition by
competing in photo contests, but this will rarely allow you to exhibit your work at the size that
you prefer. Each of these avenues for recognition has its own price and that needs to be factored
into your selling price. Art galleries will normally take 50% of the sale price. Artist’s co-ops
will take less, but you will have assigned responsibilities that take your time and effort. This is a
cost that needs to be factored in. Art-and-craft shows require a tent and display panels as well as
an entrance fee. Even contests have an entrance fee. So, no matter how you choose to gain
recognition, make a thorough analysis of the real cost of producing your art.
However and wherever you display your work, use large prints to attract the buyers’ attention.
Ultimately, most of your sales will be smaller sized versions of the large prints on display but it
is the large prints that give the buyers confidence in their purchase. Your large prints can be
very expensive to you as well as your buyers. Since they are usually a marketing tool, they
should be included in the cost of your smaller prints.

In general, you will want to sell smaller matted prints in two or three sizes. Each size should be
approximately twice the area of the smaller size. For example, 8X12 = 96 square inches; 12X18
= 216 square inches, or a little more than twice the 8X12 size. Each of these images should be
matted and backed, signed by you, and sealed in a clear sleeve.

It is helpful to the buyer to have a label on the back of the print with the print dimensions as well
as the matted dimensions. Most artists only give the print or matted size and rarely tell you
which one it is. All of these materials, and your labor to package your images, should be
included in the cost. Transportation, credit card services, etc., are also part of the cost.

Once you know what it costs to produce each packaged image, I would suggest that you multiply
it by four for your selling price. If you sell through a gallery, your take is already down to a
factor of two. Other venues will have other ratios, but you need to establish a consistent price no
matter where or how your work is sold.

So what happens if your asking price is more than the going rate in your local market? You have
two options. You can educate your audience or you can lower your prices until you gain some
recognition. Just remember that no one has ever made money by selling products at a loss. You
may be competing against images that were created using the least expensive materials and
processes available. It is not a fair comparison and you need to let your buyers know why.

As you gain credibility and acquire a following, make it a practice to raise your prices a few
percent at least twice a year. This will result in greater profits over time with few customers
lost. Your regular following will like seeing your prices go up since the value of their purchases
will also appreciate.

To learn more about marketing fine art photography, I would highly recommend reading
Marketing Fine Art Photography, by Alain Briot :
Many of the ideas presented in this section were inspired by this book.
Chapter 12
CREATING A WEBSITE

If you are a professional, you will need to create a website. This can be a very intimidating task
if you have never done it before, but there are some programs that make it relatively easy.

The alternative is to hire a web designer to create and update the site as needed. This was the
first approach that I researched some years ago. At that time, I could not find anyone willing to
do even a very basic site for less than $7000. I have no idea if this is still the case, but it caused
me to research and learn a good deal about this topic. One of the things that the web designers
talked about a lot was that they knew ways to get a website to the top of the list on a Google
search. Though this might be nice, I don’t consider that to be particularly important.

The main purpose of my site is to let people see the scope of my work. I live in Sedona, Arizona
– a natural wonderland of Red Rock formations – and frequently strike up conversations with
tourists while shooting landscapes. They often approach me and ask if I am a professional, so I
never feel like I am soliciting, but often give them my card or brochure after we have talked for a
while. My website offers another level of contact with these people. They don’t need to search
for it since they have the address, and, therefore, being at the top of a search list is irrelevant. If
people are in the market for Fine Art Photography, they are not going to buy images based on
website images alone, so again, getting to the top of some search list is really not that important.
For portrait and wedding photographers it might have some relevance, but word-of-mouth
recommendations are far more likely to attract clients.

So if we eliminate the need to get to the top of a Google search list, you can probably create your
own website without a lot of stress or a long learning curve. You will, however, need to
understand how websites are created and accessed. I will do my best to avoid the technical
details and only tell you what you absolutely need to know.

Once you have created a website, you will need someone to HOST it. This means that your
website is located on their SERVER and that it is loaded from there when people enter your
website address. A server is basically a very large and powerful computer. The Internet is a
complex system of servers that can interact with each other because they each have a unique
address. When you surf the net, you are connecting to the Internet through your service
provider’s server. When you purchase something from Amazon.com, you are making the
purchase by connecting to Amazon’s server. Another way to think of servers is that they are like
a series of houses along a street. When you type in a URL (website address) it is like knocking
on the door of that address. When the door is opened, you then state your purpose for knocking
– Home page, purchase items, news, etc. The reason for this brief discussion of servers and web
hosts is that you have many options for your host, and some of those options include the ability
to easily create a website. I will walk you through a few of those options.

If you have a Mac Computer, you might want to use iWeb – Apples’ website software. This is a
very user-friendly approach to creating websites. You start by choosing a template or theme for
your site from a set of 28 templates. Each template is a set of eight typical website pages that
have a common appearance. For example, there is a welcome page, a photos page, a contact
page, a blog page, etc. You simply select one of the page templates and replace the existing text,
photos, etc. with your own text and photos. You can create as many pages as you like and the
program will create a tab or menu item for each page across the top of all pages.

There are a number of controls for each thing that you do. For example, on a photos page, you
can select a number of photos from iPhoto or any other source on your computer and add them to
the photos page. You can also display from one to six photos across the page at one time and
have up to 7 lines of text below each photo. You can also place a frame around each photo from
a list of options. You can then scroll down the page to see each photo or click on a slideshow
button. You can add music to the slideshow and determine the transition effect between images.
For each of the other standard pages, you can make similar choices. When you are done adding
pages and editing each one, you simply save the site.

When I first created my website, I had Apple’s MobileMe service which has now been replaced
by the Apple Cloud. With MobileMe, I simply clicked on PUBLISH and my site was up and
running with a MobileMe site address that ended with my website name. Although this was
easy, I wasn’t fond of the URL that advertised Apple’s MobileMe more than my site. After
publishing a number of sites using the iWeb software and MobileMe, I realized that I had no
other use for MobileMe and that there were less expensive ways to host my site. After a little
research, I decided to sign up with iPage. This is a hosting site with some other offerings.

Through iPage, I was able to choose and register my short web URL, aj-foto.com. This was a far
easier web address to give people and list on my business cards. In order to load my existing site
to their server, I had to send it by FTP (File Transfer Protocol). iPage has great customer support
and they patiently walked me through the process. Unfortunately, sites created in iWeb don’t
transfer easily outside of Apple’s Cloud. The result was that most of my site was transferred, but
many photos were just blank spaces. I eventually found a way around the problem. In iWeb,
you can publish the file to your desktop. By doing this I had an exact copy of the files that
should have been transferred to iPage. I was then able to compare the two site directories and
directly upload the missing files to iPage. This is a very time-consuming process. For this
reason, I replaced the website with a new and improved version that can be easily updated.
Before I get to that discussion, I have a few more things to say about iWeb.

Although it is user-friendly and relatively easy to use, I would not recommend iWeb for
photography websites. The templates used only allow you to use about a third of the width of
the screen. There are images that I would like to show in a larger format than is possible with
iWeb. Panoramas are particularly difficult to display at a reasonable size. Also any image
placed on a photos page is placed inside a standard sized box. If the photo happens to be a
panorama, it will give the impression that there is an image missing, since there will be a large
gap between images due to the fact that most of the box used for the panorama is empty. There
is no way around this.

So let’s talk about the next easiest approach. Web hosting sites like iPage include the use of
drag-and-drop software to create your site. Like iWeb, you have a number of templates to
choose from and the process is actually easier than iWeb. For iPage, the templates are not as
artistically esthetic as iWeb, but they have other qualities that make up for that. When I first
subscribed to iPage, the free drag-and-drop software was limited to 3 pages. This was not
adequate for my needs, and so I chose to upload my iWeb site. Now they offer an advanced
version for a small premium that allows for more pages. You can also use any web-building
software that you choose and upload it through the FTP protocol. That brings me to my last
example of how you can easily create your own website.

Before I cover this last example, I also want to mention that there are other ways that you might
want to host you site, and that each of them might have its own software to help you build your
site. One such option is an Adobe Creative Cloud Subscription – that includes web hosting in
addition to the use of the latest Photoshop Software.

One word of caution based on personal experience: If you ever decide to cancel your
subscription, it will not be easy. Adobe customer support is outsourced and is excessively and
unnecessarily difficult. I subscribed to an Adobe product with a thirty-day money-back
guarantee. I thought that I could give it a try and simply cancel within thirty days if I didn’t like
it. The first surprise was that I was informed that the subscription would be automatically
renewed each year unless I cancelled by phone or online chat. There was no email option, which
would have been the simplest and easiest way to handle the cancellation. When I called to
cancel, I was told that the wait was about 50 minutes, but that they would call me back if that
was acceptable. I said that it was acceptable and was informed that the call-back would be
between 44 and 59 minutes. I was impressed. But, I never got a call-back! After several
attempts where I got no call-backs, I decided to just hold. To make a long story short, it took
nearly an hour to resolve this simple issue and involved talking to three different reps. Two of
them thought that they spoke good English but they clearly didn’t understand why I was calling.
All in all, it took several hours of my time to cancel a subscription that could have been handled
by email in 20 seconds.

If you want total control over creating your website and are willing to learn some new skills, I
would suggest Microsoft’s Expression Web 4 and the training materials suggested below. For
less than $200 you get the software and all the training that you need to use it. Adobe’s
Dreamweaver is the top-rated software in this category. It sells for $369. Expression Web 4 is
considered a close second and is preferred by many professional site builders. I have read
reviews for both on Amazon.com and they are about equally rated.

I purchased Expression Web 4 and the training materials listed, and have no regrets. My next
website was built with this software. The Training book title is a little misleading. You won’t be
building websites 24 hours after starting the book but you can easily be building professional
websites after completing the 24 chapters and their related training exercises. Each chapter and
exercise is designed to take about an hour of your time. The book and video lessons are
exceptionally well-written and relatively easy to understand. This approach will give you
confidence in what you are doing and total control over your results. It is a great investment
both in time and money.

Microsoft discontinued Expression Web development in 2012. The good news is that you can
now download it for free. There are YouTube videos and the training materials listed below to
help you learn the software.

FREE DOWNLOAD

Software – Expression Web 4

Training Videos and Book

As previously mentioned, my recommendation is to use Adobe Muse to create your website. It

is one of the many programs included in Adobe Creative Cloud.

Chapter 13
JOINING FLICKR

Flickr is a social networking website for photography. It has a lot of nice features that can be
helpful to enthusiasts and professionals alike. As a professional, you will want to get a Pro
account. Regular accounts are free but Pro accounts cost $25 a year. With a Pro account you
can upload larger files and more at a time. These files can also be retrieved by you, so that you
have a backup for your favorite images.

Your images can only be seen by the people who you authorize. So, if you have personal images
that you wish to share with family members, you can restrict it to family, or family and friends, if
you so choose. If you have an image that you just want to archive and not share, you can do that
also. For images that are available for public viewing, you can add copyright info and a
watermark. You can also restrict them from being downloaded by anyone but yourself. With all
these restrictions, I feel pretty safe posting images on Flickr. The obvious next question is why
would I want to post them in the first place?

When you join Flickr, you can select any number of groups to join. You can then post your
images to these groups as desired. This insures that some people will see your images. If they
like what they see, many of them will comment on your images or select them as favorites.
Included with your account is an ongoing tally of views for each image and how many people
chose them as favorites. In time, this will help you to discover which of your images have the
widest appeal. These are the images that you should display and market the most.

When people comment on your images or chose them as favorites, they are identified by their
Flickr ID. With this info you can contact them by Flickr mail or view their images and
favorites. In time you will build up a network of contacts who will be told when you post new
images.

I previously mentioned that studying the work of other photographers is a great way to learn and
improve your critical eye. Through Flickr, you can make contact with some great photographers
and get some excellent feedback. Some of my contacts are in Europe and Asia. This adds
another level of interest for me as well as an occasional “travel experience.” I am often humbled
by the images that my contacts post. This is a good thing. Also by viewing their favorites, I
have been lead to the “photostream” of other exceptional photographers. Some of the images are
just amazing.

Not surprisingly, Lightroom makes it very easy to export images to your Flickr account. I have
been very pleased with my Flickr experience and highly recommend it.
Chapter 14
ADDITIONAL RECOMMENDATIONS

This could end up being a great cost-saver.

Before you buy a lot of books about Lightroom, Photoshop, and other related topics, subscribe to
NAPP (National Association of Photoshop Professionals). For $100 a year, you will get 10
issues of Photshop User Magazine. This is a great resource that will help you to become a
master Photoshop user over time. It is filled with valuable articles on specific tricks and
techniques that will significantly enhance your results. There are numerous benefits to
membership. Unlimited advice and help from experts on all types of photographic topics.
Discounts on training and conferences. Monthly newsletters. Members-only website with
thousands of free training videos.

Subscribe to NAPP

The NAPP magazine is published by the Kelby Group. Kelby also offers video training on a
wide variety of topics by people who are at the top of their craft. This training is available for
$199 for a one-year subscription. NAPP members are eligible for a discount. With NAPP
membership and Kelby Training Videos, you should be able to educate yourself very quickly for
less than $300. The video training has a 100% guarantee.

Kelby Training
CONCLUSION
Armed with the understanding gained through reading this book, you should now be better able
to quickly learn from your experience as well as the many educational resources available
through the Internet and this book.

I would just like to highlight a few things before closing.

Equipment recommendations:
A Canon, Nikon, or Sony Digital SLR camera with at least 14 megapixels
A good tripod
A polarizing lens
A backpack like the Lowepro series
Some type of neutral gray lens
A good photo printer
A ColorChecker Passport

Software Recommendations:
Photoshop Lightroom
Photoshop Elements or Photoshop

Training Recommendations:
Join NAPP
Sign up for Kelby Training online videos

I hope that I have been successful in my desire to save you a lot of time and effort in your quest
for creating better images. Any feedback would be greatly appreciated. Just send an email to
[email protected] with “eBook feedback” in the subject line.

I currently have 18 Photography books in print. If you would like to know when a new one is
available, send me an email with “Photo Books” in the subject line. I will not use your email
address for any other purpose. I also give gift certificates for my new books at the time of
publishing to anyone on my email list who requests one.

On line reviews are greatly appreciated. If you liked the book and rate it well, others will be
more inclined to read it. On the other hand, if you had issues with the book, that information is
equally as important. That information will help me do a better job next time.

Thanks for taking the time to read Mastering Digital Images.

Al Judge
www.aj-foto.com www.ajphotobooks.com