# ADOBE PHOTOSHOP FOR UNDERWATER PHOTOGRAPHERS- P1

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## ADOBE PHOTOSHOP FOR UNDERWATER PHOTOGRAPHERS- P1

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ADOBE PHOTOSHOP FOR UNDERWATER PHOTOGRAPHERS- P1: In a matter of a few short years, the underwater digital camera went from a novelty item to the predominant method for taking underwater pictures. Never before has a technology advanced so rapidly. Thanks to digital, though, underwater photography has evolved into a shootto- edit process.

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1. Left—In the main printer menu, you should set the media type, the color mode, and check ink levels. If you try the Auto- matic mode and are dissatisfied with the print quality, try selecting the Custom set- ting. It has a submenu that will offer more advanced options. Below—When you are in the Custom or Advanced printing menu, you are given controls for image quality, printer speed, color adjustments, contrast, and saturation controls. Once you have a test print that looks good, save the settings to a file name that best describes the type of print job. 210 ADOBE® PHOTOSHOP® FOR UNDERWATER PHOTOGRAPHERS
2. GAMUT WARNING If you have a colorful image that is giving you fits when you try to print it, then you just might be out of gamut. Many very colorful images look great on your RGB monitor—but not when they come off your printer. The Gamut Warning can be turned on by going to View>Gamut Warning or pressing the MANY VERY COLORFUL IMAGES LOOK GREAT Shift+Ctrl/Cmd+Y key combination ON YOUR RGB MONITOR—BUT NOT WHEN to show areas that will be difficult to THEY COME OFF YOUR PRINTER. print. The out-of-gamut areas of the image will be indicated by the color that you have preselected in the Photoshop Preferences>Transparency & Gamut section. If the image you wish to print indicates a large out-of-gamut area, then just convert it to CMYK, and Photoshop will fix the problem during the conver- sion. When you convert the file back to RGB, the image will look the same but should print better. PHOTOGRAPHIC EDGES AND FRAMING In our first book, Digital Imaging for the Underwater Photographer, we provid- ed an extensive discussion on the File>Automate>Package Printing command. This function allows you to select from several multi-print formats, and load either one or several images on a page. This program is really great, but there are even more options available with Photoshop-compatible third-party print- ing plug-ins. Jump Plug-ins. Many of the printing plug-ins that are available are jump plug-ins. When a jump plug-in is selected, Photoshop is minimized, and these very large and memory-intensive programs process and prepare your images for creative printing output. More Plug-ins. To really appreciate how much these programs have to offer photographers, pick up a copy of our book, Plug-ins for Adobe® Pho- toshop®, and read the chapter on output. Also, be sure to visit www.Auto FX.com for information on the DreamSuite and Photographic Edges plug-in, or go to www.extensis.com to learn more about Photo Frame. These three programs combined have over 10,000 different formats for your printing options. We’ve provided a few examples of some of the effects you can achieve on the following pages. OUTPUT OPTIONS 211
3. Top—When we turned the Gamut Warning on, we found that there were colors that might not correctly display on output devices like printers. Above—The problem can easily be solved by going to the Mode command at the top of the editing screen and converting to CMYK to change the color display of the image. You can then print the CMYK file directly to a printer or con- vert it back to RGB to print. 212 ADOBE® PHOTOSHOP® FOR UNDERWATER PHOTOGRAPHERS
4. When using the AutoFX Photo- graphic Edges plug-in, you can copy and paste images into special premade templates. The program masks and then feathers the selec- tion for quick and easy creative print output. The images can also be scaled, rotated, and flipped in- side these templates. OUTPUT OPTIONS 213
5. Top—This film scan image was imported into Photoshop, then the AutoFX DreamSuite plug- in was applied. When the image was pasted into the 21/4 film template, it automatically creat- ed a negative and positive of the image and placed them side by side. Above—You can select from thousands of image frames when you load the onOne Image Frame plug-in. This plug-in creates a layer frame with a mask and allows you full blending control over the frame’s edges. 214 ADOBE® PHOTOSHOP® FOR UNDERWATER PHOTOGRAPHERS
6. DIGITAL SLIDE SHOWS A very popular method of presenting images today is with a computer-driven slide show program like ProShow Gold from www.photodex.com. These pro- grams enable you to take your still images, put them on a timeline, add transi- tions, music, narration, and then burn a DVD so you can present them on a TV screen or video projector. These programs make easy work of replacing the ol’ slide projector shows. The downside to computer-driven shows is that the large files used in the presentations can bog down the computer and cause it to run slow. The key is not using your full-resolution files, but rather to scale your images to match the required output resolution. Since the most common image size today for out- put from a computer is 1024x768, we highly recommend that you create a new slide show image directory called 1024. Resize Your Files. Create an Action that will resize your image down to a width of 1024 pixels and save it as a JPEG file directly into the new 1024 direc- tory. Run the Action on a second file, and recheck its file size. If everything is alright, then go to the File>Automate command and process all the image files from your main directory that you intend to use in your show. When you If you want to do a wide-screen video presentation, set your Crop tool to a Width of 16 and a Height of 9, crop your images, and save them to a wide-screen directory. OUTPUT OPTIONS 215
7. A great video editing companion program is Adobe Premiere. When this software opens, you will be presented with a library (upper left) where you keep your working images, the preview monitor (middle right), and the timeline (bottom). While working on your project, if you find an image needs adjustment, just right click on the image in the timeline and you will bounce to Photoshop for editing. When you are done, the image will be updated and put you back into Premiere. assemble your show, use these 1024 images, and this will maximize your com- puter speed, without compromising image quality. If you find that you want to zoom or pan an image, you will need to work with a larger file to maintain quality. Just go back to your main directory and select the image with the larger file size. This will allow you to zoom in on just a section of the image and still not sacrifice any resolution. VIDEO OUTPUT Sizing Your Files. If you are editing images for video output to programs like Adobe Premiere and Encore DVD, large files will tend to slow your workflow 216 ADOBE® PHOTOSHOP® FOR UNDERWATER PHOTOGRAPHERS
8. down. Some video programs will even choke if the files are too large. Since video resolution is 720x480, you might assume that you would rescale the image to match that size. Since most video productions using still images have plenty of zooming effects, we recommend that you increase the size of the file to 1440x960. This will give you maneuvering room for zooms and pans but will maintain maximum quality. NTSC Colors. Because the television does not have as wide a color range as the computer, you must limit the image files’ colors for proper viewing. You can correct the colors for previewing on television by going to Filter> Video>NTSC Colors. Since you may have dozens of files to correct, we sug- gest that you make a Video NTSC Action filter so you can batch process an entire directory. If you plan on using your images in a video production, you should consider looking at the Image>Pixel Aspect Ratio menu. The pixel aspect ratio is different on a computer screen than with video, so you need to apply the appropriate pixel size to your image. If circular objects in your video look flattened, then these settings will solve the problem. OUTPUT OPTIONS 217
9. Pixel Aspect Ratio. Another problem with video is the pixel aspect ratio. Computer screens use square pixels, which generally work fine on computer monitors and for printing output. Video output devices use a variety of other pixel aspect ratios that will distort still COMPUTER SCREENS USE SQUARE PIXELS, images that are imported into Adobe WHICH GENERALLY WORK FINE ON COMPUTER Premiere. In Photoshop CS2, Adobe MONITORS AND FOR PRINTING OUTPUT. introduced a large selection of pixel aspect ratio corrections that can be applied to your images before saving them for video usage. An Action should be made so you can batch process images and speed up the process. 218 ADOBE® PHOTOSHOP® FOR UNDERWATER PHOTOGRAPHERS
10. 18. CONCLUSION M any times on our dive trips we have heard photographers utter the phrase, “I’ll just fix it in Photoshop.” Photoshop is a very power- ful tool, but we don’t consider it an excuse to take bad images. You should always do your very best to get the shot right in the camera before con- sidering what you can do with the image in Photoshop. The human eye—not Photoshop—is the most important part of underwater photography. To become a good underwater photographer, you must become a master of both shooting and editing. The big advantage of working digitally is that you can see what you are shooting while still underwater. Be THE BIG ADVANTAGE OF WORKING DIGITALLY sure to take advantage of that, but don’t rely on it completely. What you IS THAT YOU CAN SEE WHAT YOU ARE see on the LCD monitor may not SHOOTING WHILE STILL UNDERWATER. exactly match what you see in Photo- shop. This means that you will need to synchronize your shooting and editing process so that what you see is what you get. You will need to calibrate your computer monitor and then adjust your camera until it matches. One of the downsides to digital technology is that it changes so rapidly. It becomes very difficult to keep up, but nothing says you have to constantly upgrade your camera systems. If you are getting great shots, then stick with your current system, even if it’s a bit out of date. One of our best images was taken on one of the first 3-megapixel cameras ever made, and its 16x20-inch prints can easily hold their own against any taken with today’s technology. So what about upgrading your Photoshop versions? We have been involved with Adobe’s beta testing on all Windows versions of Photoshop and can hon- estly say that each addition brings new innovations in image editing. We think you should upgrade with each new version, but if cost is a factor, upgrade every other version. If you stay too many versions back, you’ll miss out on all the cool new features. Most upgrades are designed to make your image editing faster and easier, resulting in higher productivity. CONCLUSION 219
11. Another advantage to image editing with Photoshop is that it allows you to reminisce about your diving days, all year long. You can relive the thrill of div- ing with that cuttlefish as you work on your computer when the snow outside is two-feet deep. This year-round interest in underwater photography gener- ates increased excitement for the sport and keeps diving on your mind. Working with Photoshop can also be a frustrating experience. It takes quite a bit of practice to master even the easiest of image corrections. Just when you think you have mastered a tool or ANOTHER ADVANTAGE TO IMAGE EDITING effect, you see that there is another WITH PHOTOSHOP IS THAT IT ALLOWS YOU TO way to accomplish the same task. The power of Photoshop seems endless. REMINISCE ABOUT YOUR DIVING DA . . . YS. Because we have seen how often it is difficult for photographers to master these editing skills alone, we founded the Oregon Coast Digital Center, a facility offering personalized Photoshop train- ing. For further information, log on to www.oregoncoastdigitalcenter.com. Finally, we see many new digital photographers getting so wrapped up in all the newly evolving technologies that they forget the real reason for taking pic- tures underwater is to just have fun. That said, close Photoshop for now—let’s go diving! 220 ADOBE® PHOTOSHOP® FOR UNDERWATER PHOTOGRAPHERS
12. INDEX A Brush tool, 22, 29, 34, 37, 44, 52, Actions, 37, 53–55 53, 56, 57, 60, 63, 64, Adjustment Layers, 51–68 78–79, 84, 85, 91, 103, 104 Adjust tab, 92–95 Burn tool, 29, 60, 61, 63, 68 Adobe Bridge, 35, 36 Adobe Gamma Loader, 17 C Adobe Illustrator, 203 Calibrate tab, 98 Alpha channels, 163 Channel Mixer, 82, 84 Artifacts, 109 Channels, 83, 84, 163 Aspect ratio, 203, 218 Character palette, 198 Automatic functions Check spelling, 198 Auto Color, 71 Classes, Photoshop, 19, 220 Auto Contrast, 71 Clipping Mask, 200, 201 Auto Guides, 193 Clone tool, 22, 55, 68, 117, 118, Auto Exposure, 71 128, 155 Auto Select Layers, 193 Collages, 187–203 Color cast, 64, 79–80, 183, 185 B Color management, 206–7 Background color, 137 Color Range menu, 64, 148 Backgrounds, changing, 153–67, 176 ColorVision Spyder 2, pg. 17 Backscatter, 103–9 Crop tool, 27–29 Batch process, 35, 40, 49, 217, 218 Curves editor, 72–74 Bevels, 201 Curve tab, 97 Bitmap images, 197 Black & white conversions, 83–85 D Blending modes, 60, 61, 63, 195 Depth of field, 153, 171 Blooming effects, 136–50, 174–76 Detail tab, 95–97 Blur filters, 68, 109–14, 142–44, 145 Dodge tool, 29, 60, 61, 63, 68 Bridge, see Adobe Bridge Drop shadows, 201, 182–83 Brightness/Contrast, 126, 184 Dust & Scratches filter, 27, 104–8 INDEX 221
13. E High Pass filter, 88–91 Enlargements, 180 Histogram, 69 Equipment History palette, 42–46 hard disk, 15 Hue/Saturation, 65, 85, 134 monitors, 16–17 processors, 14 J RAM, 15 Jump plug-ins, 211 software, 19, 168–86, 219 Eraser tool, 159–61, 193 K Exposure issues, 69, 77, 184 Keyboard shortcuts, 33–34 Extract filter, 157–61, 176 Eyedropper, 70–71, 137 L Lasso tool, 64, 115, 129, 176, 193, F 194 Faded images, 185 Magnetic lasso, 64, 153–54, 162 Falloff, light, 197 Polygonal lasso, 64, 65, 115, 124, Font menu, 198 131, 153, 162 Foreground color, 137 Layer Mask, 63, 64, 78–79, 91, f/stop, 153 195–96 Layers, 51–68, 91, 129, 187, G 189–90, 193, 198, 201 Gaussian Blur, 63, 86, 102, 144, 148 arranging, 193 Glow effects, 201 grouping, 68 Gradient fill, 140–41, 165, 197 moving, 189–90 Grayscale, 83 Layer visibility, 56, 58, 107 Grid alignment, 192 Lens Blur, 161–67 Grouping photos, 41–42 Lens Flare, 126, 144, 151, 174 Lens tab, 97 H Levels Editor, 21–22, 69–71, Hand tool, see Move tool 133–34, 154 Healing Brush, 23, 55, 68, 117, 118–120, 128, 144, M 150–151, 155, 179 Magic Wand tool, 64, 118, 131, Spot Healing Brush, 23, 55, 103, 136–37, 153, 176 128 Midtone adjustments, 77–78, 154, High Dynamic Range, 79 185 Highlighter pen, 157 Move tool, 136, 159, 193
14. N Sharpening, 24–27, 57–60, 86–91, Naming files, 48–50 169 Noise, 141, 185 High Pass Filter, 88–89 Nondestructive image editing, 56, Smart Sharpen, 86, 169 120 Unsharp Mask, 24–27 Slide presentations, 172–74 O Smart Objects, 188 Options button, 72 Software, 19, 168–86, 219 Output, 172–74, 180, 204–18 Spot Healing Brush, 23, 55, 103, 128 P Step Backward, 71, 151, 194 Pen tool, 199 Stroke effect, 201 Photo grouping, 42 Styles palette, 201, 203 Pinch, 145 Plug-ins, 123, 151, 168–86, 211 T Text, adding, 197–201 R Text tool, 197, 198, 199 Radial blur, 145 Transform, 31–32, 124, 129, 136 Raster images, 197 RAW image editing, 92–102, 146 U Removing objects, 115–23 Undo, 71, 151, 194 Replace color, 81–82 Unsharp Mask, 24–27, 57, 169 Rotate, 125 V S Variations menu, 29 Saturation, 23–24, 154–55 Vector graphics, 198, 203 Scripts, 40 Versions, Photoshop, 19, 187, 219 Selections, 63, 64 feathering, 64, 194 W Selective color, 85 Workflow, 46–50 Shadow, 190–91 Workflow options menu, 98 Shadow/Highlight, 75–76 Shapes, 203 Z Zoom, 129, 193
15. MASTER THE TECHNIQUES YOU NEED TO PERFECT YOUR UNDERW ATER PHOTOGRAPHS IN ADOBE PHOTOSHOP Jack and Sue Drafahl show you how to use INCLUDES: Adobe Photoshop—and a whole host of Using Levels and Curves to cor- plug-ins—to solve a wide range of unique rect color problems and improve image problems that underwater photogra- exposure and contrast phers often face. Ample before-and-after Techniques for removing back- images and screen shots make it simple to scatter, artifacts, and other learn each technique. distracting image elements Creating Actions and keyboard Amherst Media PUBLISHER OF PHOTOGRAPHY BOOKS ® shortcuts for high-speed under- water image editing PO Box 586 Buffalo, NY 14226 Working with RA image files W www.AmherstMedia.com for the ultimate in quality and control Compositing image elements, creating collages, and much more $39.95 USA$55.95 Canada #1825

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