Post A Status

Course Code: DAD 160
D.A.BEDIAKO +233542479203 yawbediakoyaw@gmail.com
Course Title:
BASIC
PHOTOGRAPHY II
Lecture 1
Lecturer:
Derrick A. Bediako
Contact: 0542479203
yawbediakoyaw@gmail.com
TOOLS & EQUIPMENT FOR
PHOTOGRAPHY
Tools & Equipment for Photography Studio
▪ Studio space ▪ Softboxes & umbrellas
▪ Photography backdrops ▪ Beauty Dish & light domes
▪ Tripod ▪ LED lights & Strobes
▪ Cameras ▪ Polarizing and ND filter
▪ Camera Lenses ▪ Chairs, stool & furniture
▪ Memory cards/storage ▪ Bag/Carrying Gear/Strap
▪ Reflectors ▪ Computers (PC, LT, Mac)
▪ Speed-Lite ▪ Printers
▪ Adjustable lighting ▪ Website/Portfolio
equipment kits ▪ Photo Editing Software

Studio Space
•Home or Basement
•Rent space on a budget

• The advantage of a professional studio vs a home
studio is the amount of the selected photoshoot
equipment you can use including better lighting, more
backdrop selection, etc.
• If you choose to take photos at home, make sure you have

plenty of space. Prepare a corner or a room with a clean
background, a chair or stool, and good lighting.
Photography Backdrops
A backdrop is a large piece of cloth, often with scenery

painted on it, that is hung at the back of a stage while a
play is being performed.
In photography, the backdrop to an object or a scene is

what you see behind it.
Photography Backdrops
Most professional backdrops are either made of vinyl or

fabric. Fabric backdrops such as canvas or muslin are
popular due to their variety and portability.
Card boards and thick paper sheets are also used for
photoshoots nowadays. You just have to be creative in
choosing a design and material for your backdrop.
Note: Never pin the backdrop on your wall, you will destroy it.
Always use clamps and a backdrop stand to hang it
Abstract Backdrop for Kids and Families
This abstract blue vinyl portrait backdrop is great for family photoshoots!
Backdrops for commercial photoshoots
Tripod
A decent tripod is a worthwhile purchase for anyone
working with a camera. Keep in mind, with a tripod it
becomes possible to utilize long exposures and low ISOs.
This is achieved without the risk of motion blur. It is also

used in conjunction with a remote shutter release. You
could even use a camera without any sort of direct contact.
Cameras
Get an Advanced Photo System type C (APS-C) or Full-Frame

camera and combine it with a good portrait or all-around lens.
Cameras
A full-frame camera uses a sensor that's the same size

as a single frame of traditional 35mm film, measuring 36
x 24mm.
The more popular APS-C sensor size found in most

DSLRs and mirrorless cameras measures 22 x 15mm.
This means a full-frame sensor has more than 2.5 times
the surface area of an APS-C sensor.
List of Cameras For Studio Portrait Photography
✓ Nikon D780
✓ Nikon D7500
✓ Canon 5D Mark IV
✓ Nikon D500
✓ Canon 7D Mark II
✓ Nikon D3500. The D3500 is the best option if you are looking
for an entry-level DSLR that is suitable for portraits
✓ Canon 90D
✓ Canon 4000D. This is the Canon equal to the D3500
✓ Etc.
Camera Lenses
Keep in mind, no two lenses are exactly the same. Shapes,
sizes, and prices vary significantly. More notably, each
available model accomplishes something different.
Also, it’s important to consider the direction you’d like to take
as a photographer before making any purchase.
For instance, landscape photographers will likely want to
invest in a wide angle lens, such as the Canon EF-S 24mm.
Memory cards/storage
Due to advancements in camera technology, nearly every
camera provides a slot to accommodate a small SD card.
Also, some higher-end cameras are compatible with
Compact Flash (CF) cards. They are a bit larger than
their SD counterparts and are significantly more durable.
Due to SD and CF cards being

inherently small, they’re quite
easy to lose track of and misplace
without proper storage and
organization.
Think of an external hard drive as a form of insurance.
That being said, any wise beginning photographer should
have one of two backups on hand at any given time.
Reflectors
Much like a speed-lite, reflectors are used by beginning
photographers and professionals in the field and in the
studio to bring in the supplementary light.
Reflector
Reflectors are primarily used to redirect existing light

for a more diffused and natural look.
Also, while a speed-lite may be convenient and more

immediate at times, it’s important for photographers to
have multiple lighting options when it comes to cultivating
a feeling or idea through an image.

A standard reflector is the typical light/reflector set-up
for shining the light into bounce cards, through diffusion,
and grids or cutters.
The standard bowl reflector that comes with studio flashes is a

basic option. There are different sizes and depths for different
light qualities, and it generally produces a hard, direct light.
Speed-Lite
The most helpful tool a photographer can have on hand
is light to spare.
For most image makers, a speed-lite

is the easiest and most convenient
way to illuminate a scene quickly and
efficiently.
An on-camera flash, also known brand-wise as a
“speedlight” or “speedlite,” is an indispensable accessory
for many photographers;
➢ It provides additional light when conditions become too
dark to handhold your camera comfortably,
➢ Allows you to achieve more balanced exposures in
daylight, permits freezing of fast-moving subjects,
➢ And can also be used to control or trigger other flash
light sources.
Additionally, a flash can be used as a highly effective
creative tool to establish an aesthetic that elevates
your imagery.
The benefits of an external on-camera flash far outweigh those
provided by a built-in camera flash, while the only drawback is
having to carry an additional piece of equipment.
Also, synced directly to a camera’s shutter, it offers a powerful

burst light for fractions of a second.
Keep in mind, most of the major brands and third party
manufacturers produce flash units of their own.
Adjustable Lighting Equipment Kits
To capture clear photos you will need some form of lighting.
A softbox is an enclosure designed to fit around an

artificial light source, such as a flash tube or halogen lamp.
Its reflective interior intensifies the light output and projects
it through its only means of escape - the front diffusion
screen.
A softbox diffuses the light into a pleasing soft, even
light. When used properly, it reduces harsh shadows.
The closer the softbox is to the model or subject, the

softer the light appears, emulating window light.
The shape of a softbox can vary from rectangular to
octagonal to square to a long strip of light.

The YICOE and EMART softbox lighting kit is great for creating
any kind of light tones you need in your photo studio space.
Choose between neutral, warm or cool tones according to the
project or subject you’re photographing.
Umbrellas provide photographers with a broad and
soft light source that closely emulates outdoor lighting.
Unlike softboxes, which give you directional control,
umbrellas produce a more unrestricted type of lighting
that will pretty much go everywhere.
➢ The bounce umbrella is a good choice on a budget
and works well for quality eye reflections. It's less
controlled however and can cause light contamination.
➢ The softbox is the best choice when you are seeking

the most control possible. It will also save you flash
power so you get more shots out of each battery
charge.

A beauty dish is a photographic lighting device that uses
a parabolic reflector to distribute light towards a focal point.
The light created is between that of a direct flash and a
softbox, giving the image a wrapped, contrasted look,
which adds a more dramatic effect.
A softbox is better for softer light with less contrast and
more gradual transitions between light and dark.
They are also more flattering to flawed skin.
A beauty dish is better when you want a brighter, more
sculpted look to your client's face. They tend to be
heavier and sturdier than fabric boxes.
The Light Dome is the perfect lighting modifier for
content creation, interviews, head shots, fashion and
portrait photography.
Aputure Light Dome II, a 16 sided modifier uses industry-
grade diffusion material with highly reflective coating.
While preserving your light’s original color temperature,

these materials turn your hard light into a beautiful soft light
that provides a very even wrap around your subject,
making the Light Dome II the perfect diffuser for portraits,
interviews, documentaries, music videos, and narratives
➢ Light modifiers are devices that can improve the
lighting in photos.
➢ Whether a scene has ambient or artificial light, you can
use a light modifier to achieve a particular mood.
➢ With modifiers, you're able to highlight something
important in a scene, soften harshness, or flatter a
subject.

In photography, something that creates diffusion or
diffused light is a device that evenly scatters the light
from a light source.
It is usually used to help soften light or can be directed
so as to reduce harsh shadows.
Adjustable LED lights
Adjustable LED lights can direct your tones while they
can be used on video footage. They have a dimmer so
you can create a dramatic scene and take amazing off-
camera flash photos!
LED adjustable lighting kits can be controlled through
your mobile device.
They are easy to install, simple to use, and perfect for photo
studios or spaces that need a strong light source.
Adjustable LED lights
Aputure 120d II LED Light
Strobes
Strobe is another name for a strobe light, a type of
specialized lamp that produces a continuous series of
short, bright flashes of light.
Strobe lights are also called stroboscopes or
stroboscopic lamps.
Strobe can also be used as a verb meaning to flash in
such a way.
Also known as monolights, strobes have a quick recycle time and
a full power output of anywhere from 100 to 1,000 watts.
Strobe lights emit a bright burst of light akin to
on-camera flash photography.
The ability of strobe lights to "freeze" the motion of

rapidly moving objects makes them very useful in
photography and in making measurements of vibration
or other types of high-speed motion.
Polarizing and ND filter
A polarizing filter or polarising filter is often placed in front

of the camera lens in photography in order to darken skies,
manage reflections, or suppress glare from the surface of
lakes or the sea.
A Polarizing filter plays a crucial role in keeping
composition elements properly exposed.
Also, photographers often have to work around blown out
skies or distracting reflections.
So, with the ability to absorb polarized reflected light, the
addition of this filter instantaneously brings out details and
colors that might otherwise be lost without making
adjustments to camera settings.
Also, products that are equally useful are neutral density
(ND) filters.
ND filters also recover details by bringing down the overall

exposure of a scene.
As a result, this makes it possible to create long exposure
images during daylight hours while retaining detail in highlights.
Bag / Carrying Gear / Strap / Harness
Certainly, you’ll need something to store all of your gear in.
This backpack is ergonomically

designed to fit a full-sized DSLR,
accessories, and a laptop.
Smaller portable DSLR camera bag
Photo studio trolley carry bag
The Pelican Case comes with a lifetime satisfaction

guarantee and is available with a choice of protective
foam or padded dividers.
A camera strap is a substitute for the hands and
allows you to perform other tasks even when there is
no surface to rest the camera upon.
Use the strap as a stabilizer to reduce camera shake
A camera shoulder strap
Wearing a camera chest harness keeps your hands
free when you need them while enabling you to get
back into the action at a moment's notice.
Chairs, Stool, and furniture
Photography Posing Prop Stool, 24-Inch Square Leg Counter Stool and a Modern
Lounge Chair with Dark Brown Fabric Seat
Computers (PC, LT, Mac)
For those who want to store and edit a large number of

images, you will need the proper computer to handle
those heavy-duty tasks.
Remember, for editing photos you need a good CPU, a
fast SSD, and Hard Disk Drives to Store and Backup
your images.
Printers
Printing is another part of your photo studio business.
You need to be able to make prints for your clients.
Website / Portfolio
Creating a website and portfolio for your photography

business is essential.
Photo Editing Software
The majority of photographers use Adobe Creative Cloud.
There are many other options in the market but choosing to
edit your photos with the most popular photo editing apps in
the market will help your business be more compatible.
The Adobe Creative Cloud for Photographers Includes:
➢ Lightroom
➢ Lightroom Classic
➢ Photoshop on desktop and iPad
➢ 20GB of cloud storage (1TB available).
Cleaning Supplies
While camera upkeep isn’t
necessarily the most
glamorous part of a
photographer’s
responsibilities,
understanding how to keep
your camera clean ultimately
saves both time and money.
In conclusion!
You don’t need all this equipment to start a photo

studio. You can start with a simple backdrop, one light,
a good camera with a flash, a tripod, and you’re ready
to go.
Course Title:
BASIC
PHOTOGRAPHY II
Lecture 2
PHOTOGRAPHY LIGHTING
What Does Light Mean in Photography
When it comes to photography, the type of lighting that
you use is one of the most important elements of any
photo.
Light in photography refers to how the light source,
which can be natural or artificial, is positioned in relation
to your subject.
The position and quality of light can affect any number of
things in your final photo, from clarity to tone to emotion
and so much more.

• There are two main kinds of light: natural and artificial.
Natural light is anything that occurs without human
intervention, so it can be the direct light of the sun on a
bright day, or even the light of the moon at night.
• Artificial light can often be moved around and adjusted
to fit your situation. It is easier to position artificial light in
relation to your subject than with natural lighting.
Both artificial and natural lighting can be manipulated to
create any number of styles of lighting, as long as you
know how to use them.
Three Qualities of light
1. Intensity: The amount of light reflected by the performer

and the background.
2. Color: The color of the light reflected by the performer
and the background.
3. Direction: The direction (or angle) of the light determines
the length and location of the shadows cast by the
performer and the three dimensional props around him.

Importance of Light in Photography
▪ Lighting is a key factor in creating a successful

image.
▪ Lighting determines not only brightness and
darkness, but also tone, mood, and atmosphere.
▪ Lighting adds a dramatic effect to images.
Photographic lighting
• Photographic lighting is the illumination of scenes to
be photographed.
• At its most basic, lighting must do three things.
• The key light provides the illumination to create the
image with the camera.
• The fill light makes up for the difference in contrast
between our eye and the camera.
• The background light provides separation from the
background to enhance the three-dimensionality of the
image.
Key Light
If you could only use one artificial light source, you’re going to
want to get a key light. The key light does most or all of the
work for continuous lighting up your subjects face. Any other
lights used will compliment the work done by the key light. This
light is most often placed to one side and pointed directly at
your subject.
Fill Light
This light is used in conjunction with the key light. The fill light
brightens the shadows cast on your subject by the key light. The
fill light can be as bright as the key light but generally you want a
little bit of shadow on your subject’s face to show some
dimension in your shot.
Background light
With so many lights on your subjects, sometimes your
background can turn out too dark. Background lights can also
help eliminate shadows cast on your backdrop by your
subject. This light is most often dimmer than or equal to the
power of the key light.
Types of Photographic Lighting
and How to Use Them
Types of Photographic Lighting and How to Use Them
Whatever type of lighting you’re using for your images,

there are different reasons to choose certain lighting for
photography.
Here we describe 13 main types of photography lighting

and how to use them:
Types of Photographic Lighting and How to Use Them
1. Natural Light 8. Rim Light

2. Ambient Light 9. Butterfly light
3. Flat Light 10. Loop Light
4. Broad Light 11. Soft Light
5. Short Light 12. Hard Light
6. Split Light 13. Rembrandt Light
7. Back Light
Natural Light
• If you want to use natural light in your photography, it's
important to understand the angle of the sun and how
that will affect your composition.
• For example, for most of the day, the sun is directly
overtop so your subject will be lit from above. A sunny
day without clouds will result in more intense shadows,
while a sky full of clouds will diffuse the sunlight so that
the contrast of light on your subject is less harsh.
Ambient light
• Ambient light is defined as lighting that is not added to
the scene by the photographer. Sunlight can be ambient
lighting, but so can a streetlight and moonlight.
• The goal with ambient lighting is often to get a soft,
evenly distributed light that can bounce from one
surface to another.
• This kind of lighting works particularly well for landscape
photography.
The light seen here is one form of ambient light
Flat light
• When you have your light source facing directly at the front
of your subject, this is flat lighting.
• Flat lighting on a face will mean that your subject is well lit
and you are unable to see any shadows along their face.
• Since shadows can draw out imperfections and textures,
flat lighting is beneficial when photographing babies in their
acne skin weeks, teens with heavy blemishes, and elderly
people feeling insecure about their wrinkles.

Broad light
• Broad lighting is actually a type of side lighting. It’s
where the most well-lit side of your subject is facing the
camera, and the less well-lit side is away from the
camera.
• This type of light can make a face look fuller so it’s ideal
for those with very narrow faces.
To set this up, you simply place your light source at a forty five
degree angle from your subject, and then have your subject turn
away from the main light source until you achieve the desired effect.
Broad lighting can make a thin face look fuller
Short light
• Another type of side lighting.
• Short lighting is the opposite of broad lighting. This is
where the shadow falls on the side of the face closest
to the camera.
• This technique is flattering to most facial types, but in
particular, it works well to make a full face look thinner.
• Knowing how your subject feels about some
imperfections is important so you know if you should
hide them with another type of lighting or if they’re
okay with you showcasing them with short light.

The set up for this is similar to that for broad
lighting. You start with the light source positioned
at a forty five degree angle from your subject. But,
unlike with broad lighting, this time you have your
subject turn toward the light–you want the brightest
part of your subject’s face to be the short side.
Split light
• Split lighting is where the light source hits the subject
from the side at a ninety degree angle. It creates a
split of light and shadow, half of your subject will be in
the light and half will be in the shadow.
• With a face specifically, you’ll see the shadow line
straight down the middle of the forehead, nose, and
chin.

• This technique tends to create more dramatic images.
• It often makes your subject appear tough and more
masculine. This type of lighting also tends to emphasize
the texture of the skin and the details of the face. It gives a
sense of assertiveness and can also be used to
emphasize glamour.
• It’s quite easy to set this up. You simply put the light source at a
ninety degree angle to the direction your camera is shooting, and
it should be hitting your subject on their side. It also helps if the
light is slightly behind the subject. Then you can move your
subject around until you get a ‘split’ of the light.
Backlight
• Backlighting is just what it sounds like, the light source is
behind your subject. It can be used to create silhouettes,
or you can combine it with certain atmospheric conditions
like fog to get more dramatic images.
• This is commonly seen in photos from the beloved golden
hour, when the sun is low in the horizon and starting to set.
• Sources of backlight can include a window behind your
subject in the middle of the day to a flash placed behind
with a colorful gel for something fun.

• One of the problems with this lighting technique is that
you can lose clarity in your subject because it is backlit.
• For that reason, it might help to use reflectors to reflect

some of the light back onto your subject (if you don’t
want a silhouette), or you can use a technique called the
semi-silhouette where you only allow the light to just
barely enter the frame.
Reflector:
To combat the loss of clarity, use a reflector to pop some of that sunlight
back onto your subject.
When using a reflector, place it opposite the light source and then adjust the
angle to direct the light exactly where you want it. You’ll also want to move
the reflector closer to your subject for stronger light and further away from for
softer light.
without a reflector
Semi-silhouette:
When doing this, there’s a pretty glow that creates a welcome contrast to a
dark background. In this situation, you expose the subject darker than usual
to further that contrast and create a warm and relaxing feel to an image.
Off camera flash:
Similar to a reflector, off camera flash combats the lack of clarity that comes
with lots of backlight. Off camera flash is used just the same as a reflector, to
light the face.
While a reflector is cheaper and easier to carry around, off camera flash has
more power.
Rim light
• Rim lighting falls under the backlight category but
deserves a spot of its own.
• Rim lighting is where the light hits the subject at an angle,
such that it creates highlights along the edges of your
subject. This highlights the shape of your subject and it’s a
great technique to use to separate your subject from the
background.
You can create this in the studio
with a single light source
positioned behind your subject.
Then, have your subject turn until
the light creates a rim highlight
along the edges.
Butterfly light
• With butterfly lighting, the light is placed above and in
front of your subject to create a small shadow under the
nose resembling a butterfly.
• On the plus side, it highlights prominent cheekbones,
which is why many women like it. But, on the negative side,
it also emphasizes shadows from deep-set eyes.
• This lighting technique is also referred to as paramount
lighting, and it is flattering to most people, making it a
favorite for portraiture photography.

For butterfly lighting, position your light in front of the subject and pointed down on them.
The steeper the angle, the deeper the shadows.
Loop light
• Loop lighting is another good technique for portraiture
photography because it is flattering for almost every
subject.
• It is less dramatic than other lighting types, but it creates
more depth than flat lighting. It does all of this by still
keeping the subject well lit.
It’s easy to set up, you simply pose your model, and then set the light at a
forty five degree angle to your model and slightly above eye level. This
creates a loop-shaped shadow under the nose of your subject on the opposite
side of their face from the light source.

Loop lighting creates a loop-shaped image under the nose
Soft light
• Soft lighting occurs when your light source is diffused, so
that the effect is more subtle than it would be with a direct
source of light.
• Soft light is light where shadow edges are soft and open,
and there is less contrast. Overcast days are a great
opportunity for outdoor soft lighting.
• It can be achieved in the studio by using a full diffusion
panel or softbox that is placed between the light source
and the subject. Window lighting can also be a great
source for softer light.
Soft light is used mostly
for portraiture, macro,
and nature photography.
It can also be used to
make a subject appear
more youthful.
Hard light
• Hard light is the opposite of soft light. it creates strong
shadows and high contrast. It creates more dramatic and
edgier images.
• You can also make the hard light look like a spotlight, and
that will increase the shadows in the image. One of the
things to keep in mind though, is that not everyone looks
good in hard light.
In the studio, you can position the light source where you would with
soft light, but you don’t use diffusers to soften the light.
Hard light
creates sharp,
dramatic
shadows.
Rembrandt Lighting
• This style of lighting is named after the way that
Rembrandt used light in his portrait paintings.
• It is a type of side lighting, similar to split lighting, except
that the side of the face that is in shadow has a triangle of
light under the eye. This can be highly effective in making a
two-dimensional image appear three dimensional.
• Rembrandt lighting is a standard lighting technique that
is used in studio portrait photography and cinematography.

It can be achieved using
one light and a reflector, or
two lights, and is popular
because it is capable of
producing images which
appear both natural and
compelling with a minimum
of equipment.
All of these types of lighting are great for different
reasons.
It depends on what kind of mood you’re trying to
create as well as the subject you’re photographing.
Whatever the image you want to create, light is
crucial to creating the mood you want.

Course Title:
BASIC
PHOTOGRAPHY II
Lecture 3
Photographic processing
• Photographic processing or photographic
development is the chemical means by which
photographic film or paper is treated after photographic
exposure to produce a negative or positive image.
• Photographic processing transforms the latent image
into a visible image, makes this permanent and renders it
insensitive to light.

Photographic printing
• Photographic printing is the process of producing a
final image on paper for viewing, using chemically
sensitized paper.
• The paper is exposed to a photographic negative, and
positive transparency (slide), or a digital image file
projected using an enlarger or digital exposure unit such
as a LightJet or Minilab printer.
Digital photographs are commonly printed on plain paper, for example
by a color printer, but this is not considered "photographic printing".

• Photographic processing and photographic printing
are usually done in a darkroom or within an automated
photo processing machine.

• Darkrooms have been used since the inception of
photography in the early 19th century.
• From the initial development of the film to the creation
of prints, the darkroom process allows complete
control over the medium.
• A darkroom is used to process photographic film, to
make prints and to carry out other associated tasks.
• It is a room that can be made completely dark to allow
the processing of the light-sensitive photographic
materials, including film and photographic paper.
The darkroom
• Various equipment is used in the darkroom, including an
enlarger, baths containing chemicals, and running water.
An enlarger

• Due to the popularity of color photography, instant
photography technology and later digital photography,
darkrooms are decreasing in popularity, though are still
found on college campuses, schools and in the studios of
many professional photographers.
Digital photography
• Digital photography uses cameras containing arrays of
electronic photodetectors to produce images focused by
a lens.
• The captured images are digitized and stored as a

computer file ready for further digital processing,
viewing, electronic publishing, or digital printing.

File Formats in Digital Photography –
JPEG, TIFF, or RAW?
• In past times, photographs were captured onto light
sensitive film.
• Then, after development in the darkroom, a negative or
positive was produced.
• With digital photography, images are stored as a digital
file. For viewing, the file is decoded, and there are three
main types of file used: JPEG, TIFF and RAW.
File Formats in Digital Photography
• When a picture is taken, the camera records the data

onto the memory card as a file.
• If all of the data is stored, this is known as a lossless
file. These files are large in size. RAW files are
lossless.
• To reduce file size, the camera can discard part of the
data not easily perceptible to the human eye. A JPEG
is a lossy file.
• A TIFF file is, in principle, a flexible format that can be
lossless or lossy.
JPEG
This is the most common file format used by amateur
photographers, mainly because so many pictures can be
recorded on one card.
Whilst the actual number will vary depending on the camera used, it is
possible to take over 1500 images using just one 2GB memory card.
RAW
These files take data straight from the camera’s sensor.
This means they are not processed by the camera at all and
represent the purest image, as taken.
They are sometimes referred to as a “digital negative”. Using the optimum (i.e.
least) compression level, you could expect to record just 100 images, or less, on
a 2GB card, using a 15megapixel camera.
Unlike JPEGs, RAW files are not universal across different
manufacturers. For example, Canon uses the term RAW, whilst
Nikon’s equivalent are known as NEF files. These are not
compatible with each other. However, each manufacturer will
supply software with the camera to enable you to process and
print the images.
TIFF
In practice, TIFF is generally used as a lossless file format
that uses no compression.
Consequently, file sizes can be large, but retain their data, and subsequent
quality. However, the file size is huge when compared to the identical JPEG file.
A common use of TIFF is as a working format for editing digital images in
Photoshop, or equivalent.
Digital Image Processing
• Digital image processing is the use of a digital
computer to process and manipulate digital images
through an algorithm.
• As a subcategory or field of digital signal processing,
digital image processing has many advantages over
analog image processing.
Algorithm is a process or set of rules to be followed in calculations or other

problem-solving operations, especially by a computer.

Digital Image Processing
• For processing digital images the most common

software used widely is Adobe Photoshop CC
and Lightroom Classic CC.
Introduction to Adobe
Lightroom Classic CC
Introduction to Adobe Lightroom Classic CC
• Lightroom is part Raw converter, part photo

processor and part photo organizer.
• Lightroom provides the user with a friendly interface,
designed to enhance every aspect of photography we
may encounter in our day-to-day work.
The key thing to understand about Lightroom is that it is a
workflow application. It is designed to take care of your photos
from the moment you copy them from your camera’s memory
card, to your computer’s hard drive.

Advantages of the database
Because Lightroom is a database, it gives you several
advantages over programs like Photoshop.
✓ It saves you hard drive space

✓ Lightroom lets you see all your photos in one place
✓ Lightroom lets you search your photos
✓ Lightroom lets your organize your photos how you
want
Lightroom’s interface is split into panels and tabs. The tabs at

the upper part define the environment module, with which we are
working.
A common interface is in fact one of Lightroom Classic’s

greatest strengths because keeping the same interface means you
don’t have to spend time learning seven different interfaces.
The interface behaves the same and has the same basic structure
no matter what you’re using Lightroom Classic to accomplish.
1. The Title bar: Provides an at-a-glance view of the

name of the catalog and the module you’re in.
2. The Menu bar: The go-to place for all the commands
needed for each module’s tasks.
3. The Module Picker: An easy method to pick the module

you want to work with. This area of the interface is also
home to the Identity Plate on the left, which you can
customize to insert your own graphic, as well as the
progress meter that appears when Lightroom performs a
task
4. The Left Panel group: Although the content varies with
each module, the panels to the left of the interface are
generally functions that involve accessing, grouping, and
previewing photos and templates.
5. The Right Panel group: The panels to the right of the
interface also vary with each module, but this is where
you find controls for adjusting and tweaking
6. The Toolbar: Each module has its own set of tools, but
the Toolbar that appears under the main content area
is a staple of every module
7. The Filmstrip: At the bottom of each module, you find
the Filmstrip, which displays thumbnails of the image
grouping you are working with. It also is home to a row
of tools right there along the top that put a lot of things at
your fingertips no matter what module you are in:
The Lightroom Catalog

At the heart of Lightroom is the Catalog –
a database that contains a preview of
every photo that you have imported into
the program, a record of each photo’s
metadata (including processing) plus the
location where it is stored on your hard
drive.

The Lightroom Collections

One of Lightroom’s key features is
Collections. A Collection is like a
virtual folder. You can call a Collection
whatever you want, add as many
photos as you like, and add photos to
as many Collections as you need.

• Adobe built Lightroom Classic using a modular

architecture, which means that Lightroom Classic
comprises a set of unique applications that share a
common interface and that access a common database.
• Each of the applications is referred to as a module, and
Lightroom Classic has seven modules.
• They are; library, develop, map, book, slideshow, print
and web module.
Seven modules in Adobe lightroom Classic
The Library module: Your organizational hub, the Library

module, is where many of your Lightroom Classic sessions
will start and end. Common Library module tasks include:
• Keywording and metadata entry.
• File moving, deletion, and renaming.
• Finding, sorting, and grouping.

The Develop module: The bulk of your image processing

takes place in the Develop module, which is armed with a
powerful array of image-adjustment tools. Common Develop
module tasks include:
• Setting white balance and tonal adjustments.
• Adjusting contrast and color.
• Reducing noise and adding sharpening.
• Cropping and adjusting crooked horizons.
• Removing red-eye and sensor spots.

The Map module: The Map module is for finding photos

with embedded geolocation information on the map, or for
manually placing photos on the map. The tools in this
module allow you to:
• See photos with geolocation data appear on the map.
• Manually place photos on the map.
• Use the geolocation data in the photo to apply location
information (city, state, country) to its metadata.

The Book module: The Book module is for creating book

layouts that you can upload to be printed through
Blurb.com. The tools in this module allow you to:
• Adjust book page layouts.
• Create a cover for the book.
• Add text to individual pages.

The Slideshow module: The aptly named Slideshow

module is for creating presentations of your photos. The
tools in this module allow you to:
• Adjust slideshow layout.
• Adjust slide transitions.
• Set the show to music.
• Export a slideshow as a video, PDF, or series of JPGs.

The Print module: If you print photos, you’ll soon find the
Print module to be a valuable addition to your printing
workflow. Here you find controls for:
• Creating layouts and print packages.
• Using output-specific color profiles to ensure the best-looking
prints.
• Printing to a local printer or to a JPG file.

The Web module: Getting your photos online in some

capacity is a requirement these days. The Web module
allows you to manage your web presence by letting you:
• Choose from various photo gallery styles.
• Configure the look and feel of your Web gallery.
• Upload directly to your Web server.

Import > Copy / Add / Move
The Library module in Lightroom Classic is where all
the importation happens.
In other words, this is where

you’ll import, catalog, and
categorize your images.
Quick Develop
Once you have images imported into Lightroom Classic,
it’s time to get your photo editing hat on.
Before you dive into the

Develop module, you can
apply a few adjustments
using the Quick Develop
panel on the right side of
the Library module.
Adobe Lightroom Classic
Practical Demonstration
Course Title:
BASIC
PHOTOGRAPHY II
Lecture 4
Develop Module Basics
Develop module basics
• The Develop module contains two sets of panels and a

toolbar for viewing and editing a photo.
• On the left are the Navigator, Presets, Snapshots,
History, and Collections panels for previewing, saving,
and selecting changes you've made to a photo.
• On the right are the tools and panels for making global
and local adjustments to a photo.
• The toolbar contains controls for tasks such as
changing between Before and After views, playing an
impromptu slideshow, and zooming.

The Develop module
A. Presets, Snapshots, History, and Collections panels

B. Toolbar D. Photo information F. Tool strip
C. Histogram E. Smart Preview Status G. Adjustment panels
Module overview
➢ The Histogram panel in the Develop module allows you to
measure color tones as well as make tonal adjustments to
the photo.
➢ Additional information about the Smart Preview status of the
photograph is displayed below the histogram.
➢ The tools in the tool strip let you fix red eye, remove dust
and spots, crop and straighten photos, and apply
adjustments to specific areas of a photo.
➢ The Basic/adjustment panel contains the main tools for
adjusting the photo's white balance, color saturation, and
tonal scale.
•The Lens Corrections panel lets you correct chromatic aberration and lens vignetting caused by the camera lens.
Module overview
➢ The Tone Curve and HSL/Color/B&W panels contain tools

for fine-tuning your color and tonal adjustments.
➢ The Color Grading panel colors monochrome images or
creates special effects with color images.
➢ The Detail panel lets you adjust sharpness and reduce noise.
➢ The Lens Corrections panel lets you correct chromatic
aberration and lens vignetting caused by the camera lens.
➢ The Transform panel lets you correct the horizontal and
vertical distortions.
➢ The Effects panel lets you apply a vignette to a cropped
photo, add a film-grain effect, or adjust the amount of haze or
fog in a photograph.
➢ The Calibration panel makes adjustments to the default
calibration settings for your camera.

Views in the Develop module (Available only for Creative Cloud members)
• Loupe View is a single photo view available in both

Develop and Library modules.
• Reference View in the Develop module provides a
dedicated 2-Up view which lets you place a Reference
(static) photo next to an Active (editable) photo.
• This view is useful when you want to edit a photo to make it look
like a different, reference photo. It can also be used in; matching
the look of a photo for preset creation, determining the white
balance consistency in photos and balancing the image attributes
across photos that you want to use together in a layout or
presentation.
Loupe view showing a single photo in Develop module
Reference view showing Reference photo in the Reference window on the left and the
photo to be edited in the Active window on the right.
Develop Module Buttons and Tools
Choose View > Show Toolbar or

Hide Toolbar, or press the T key.
Tools for performing local edits to specific

areas of a photo are located in the tool
strip under the Histogram panel.

Histogram
The Histogram (in the Develop module) is a visual
representation of the colors and tonal ranges in your image.
The Histogram allows you

to very quickly determine if
an image is too bright or too
dark. You can also rapidly
see if your image is
balanced.
Develop Module Buttons and Tools
Crop Overlay: Includes the Crop Overlay tool, Crop Frame

tool, Aspect Ratio Lock button and options, Straighten tool,
and Straighten slider.
Spot Removal: Includes Clone or Heal options and the Size
slider. Click Reset to clear the changes to the photo.
Red Eye Correction: Includes Pupil Size and Darken sliders.
Click Reset to clear the changes to the photo.
Radial Filter: Includes options for creating multiple, off-center,
vignetted areas to highlight specific portions of a photo.
Crop Overlay tool Spot Removal tool Red Eye Correction tool Radial Filter tool
Graduated Filter: Includes options for making tonal
adjustments across a region of a photo.
Adjustment Brush: Includes options for brushing Exposure,
Clarity, Brightness, and other tonal adjustments on specific
areas of a photo.
Transform
This panel enables you to manipulate the perspective
in your images.
There are 6 main options:

Offset, Auto, Guided,
Level, Vertical, and Full.
Underneath those buttons,
you will see a few sliders.
Those sliders allow you to
tweak the changes made by
the buttons mentioned
above
HSL Panel
Those 3 letters stand for Hue, Saturation, and Luminance.
In this panel you can selectively control every visible aspect of every color
which make up your images.
Difference between Hue, Saturation, and Luminance.
Hue: think of hue as all the colors of the rainbow. That's all the
primary and secondary colors of the color wheel. Hues that
are complementary to one another are direct opposites on the
color wheel.
Saturation: the saturation of a color is the degree of its hue. This
is determined by the amount of gray in a color. In other words,
while hue is the actual color itself, saturation differs in that it tells
us how deep a specific hue appears to our eyes.
Luminance: Luminance is the perceived brightness of a color.
This can help you a great deal when you’re looking to selectively
adjust the brightness of colors within an image.
Additional Develop module
Buttons and Tools
Additional Develop module buttons and tools
Hand/Zoom tool
When you hold the pointer over the photo, R, G, and B color
values display under the Histogram. The tool that appears
changes depending on your view. The Zoom tool is selected
if the magnification is Fit. The Hand tool is selected if the
magnification is Fill, 1:1, or higher. Click the photo to
toggle between Fit and 1:1.
White Balance Selector
Click this tool in the Basic panel, choose it from the View
menu, or press W to select it. Options appear in the toolbar.
Targeted Adjustment
Lets you adjust certain color and tone sliders by dragging the
tool in the photo. Select it in the Tone Curve or
HSL/Color/B&W panels, or choose it from the View menu.
Once the tool is selected, you can choose different targets
from the Target Group pop-up menu in the toolbar
Copy and Paste
These buttons at the bottom of the left panels let you copy or
paste the current settings to a selected photo.
Select tools and options
Click the tool or choose it from the Tools menu. To deselect a
tool, click it, click Done, or select or a different tool.
Before and After views

The Before And After Views button in the toolbar offers four
choices. You can arrange two photo views side by side or
top to bottom, display the whole photo in both views, or split
the photo in two. Click the Loupe View button to turn off
Before and After views.
Working with Develop Presets in Lightroom
• Presets provide a way to save a group of settings and
apply them to other photos. Once you create and add a
preset to the Presets panel in the Develop module, it remains
there until you delete it. The presets also appear in the list of
Develop settings which you can apply while importing photos.
• A set of default presets is listed in the Presets

panel of the Develop module. Click the Lightroom
Classic Presets folder to display the default presets.

Working with Develop Presets
• On opening a photo in the Loupe view in

the Develop module, some presets may not appear in
the Presets panel due to incompatibility with the selected
photo, such as camera profiles that are not applicable to
the current photo or presets that only apply to raw files.
• The non-compatible presets are shown as faded and

in Italics style in the Presets panel in Develop.
Ways to Undo Image Adjustments
To undo adjustments in the Develop module, do any of
the following:
• Click the Reset button to revert back to the Lightroom Classic
default settings.
• Click the General - Zeroed preset in the Presets panel to
remove all settings completely.
• Select an earlier version in the History panel or Snapshots panel
that occurred before you applied the settings.
• Double-click individual slider controls to reset the sliders to zero.
• Choose Undo from the Edit menu. Lightroom Classic tracks
each setting you make. You can undo all of them by choosing
Undo multiple times.
Practical Demonstration
Keyboard shortcuts
Keys for working with panels
Keys for navigating modules
Keys for working in the Develop module
Keys for working in the Develop module (cont)
Course Title:
BASIC
PHOTOGRAPHY II
Lecture 5
Photography
Composition Rules
Photography Composition Rules
Fill The Frame / Cropping

Get up close and personal with your subjects. Have them
fill in the frame so that they are the focus and the
dominant feature of the photograph.
Note how in this photo composition example, the

background was used as a pattern to fill in the frame.
Fill The Frame / Cropping
If your shot is in danger of losing impact due to a busy

background/surroundings, crop in tight around your main
point of focus, eliminating the background so all attention
falls on your main subject.
This works particularly well with portraits when you're
trying to capture something more intimate and focused or
are shooting in a busy location where what's around them
would just cause a distraction.
Filling the frame could involve you
capturing them from the waist up or
for more impact, fill the frame with
just their face. Patterns are another
subject that when capturing, you
should fill the frame with, aligning it
up carefully to ensure it's straight.
Don't Cut Off Limbs
Keep an eye on the edges of your
frame to make sure the person/animal
you're photographing hasn't had any of
their body parts chopped off by it.
Cutting off your cat's tail, your dog's
ears or even part of your model's head
or hand will not only spoil your shot,
but the unintentional limb chopping can
also pull attention away from what the
viewer should really be looking at. Of
course, there are times when this rule
can be ignored but for the most part,
pay attention to it.
Understand The Rule Of Thirds
The most basic of all photography rules, the rule of thirds, is
all about dividing your shot into nine equal sections by a set of
vertical and horizontal lines.
With the imaginary frame in place,

you should place the most
important element(s) in your shot
on one of the lines or where the
lines meet.
It's a technique that works well for
landscapes as you can position the
horizon on one of the horizontal
lines that sit in the lower and upper
part of the photograph while you're
vertical subjects (trees etc.) can be
placed on one of the two vertical
lines.
The Golden Ratio
The Golden Ratio differentiates from the rule of thirds by the
balance of the photograph. Here, the focus of the
photograph is more in the center (with more details).
The roots of this rule go back centuries and can be found in

notable works of art. In essence, it is the perfect balance
with the ratio of 1 to 1.618, and you can search for this to
understand the proportions in photography, architecture, and
art.
Use Frames
Frames have various uses when it comes to composition.
They can isolate your subject, drawing the eye directly to it,
they can hide unwanted items behind it, give an image
depth and help create context.
Your frame can be man-made (bridges, arches and fences),

natural (tree branches, tree trunks) or even human (arms
clasped around a face).

Frame within a frame
As you plan how to frame your
shots, consider that outside
structures can serve as natural
frames. This can be things like
windows or doors so use them
to your advantage.
This composition in
photography is also called
frame-withing-the-frame.
What makes a photograph like
this interesting is that it is
soothing to an eye that we’re
seeing a neat frame that is
already part of the shot.
Make The Most Of Lead In Lines / Shapes
Our eyes are unconsciously drawn along lines in images
so by thinking about how, where and why you place lines
in your images will change the way your audience view it.
A road, for example, starting at one end of the shot and

winding its way to the far end will pull the eye through the
scene.
You can position various focal points along your line or just
have one main area focus at the end of your line that the
eye will settle on.
Shapes can be used in a
similar way, for example,
imagine a triangle and
position three points of focus
at the end of each point
where the lines of the shape
meet. By doing so you create
balance in your shot as well
as subtly guiding the eye.
Make The Most Of Lead In Lines / Shapes
Leading lines
Take advantage of the structures and the lines of natural
landscapes. Use them in proportion to your subjects to
lead the eye into the picture.
A centered and symmetrical photography composition is
the most preferable one in this case to help the viewer
focus on your subject or object.
Leading lines
Simplify – Know Your Focus
Having too much going on in your frame can mean the person
who's looking at it just keeps searching for a point of focus
and soon gets bored of looking when they can't find one.
This doesn't mean you can't

have secondary points of focus,
it just means you should make
every effort to make sure they
don't steal all the limelight.
Watch The Background
Unsightly objects, overexposed or particularly bright areas
and blocks/dots of bright colour will all pull the eye from what
it's meant to be focusing on so take a good look at your
background before you take your shot and if possible, find a
background that's not so obtrusive.
If you're working on portraits make sure there are no

unwanted items sticking out of your subject's head and
unless it adds to the shot, throw the background out of focus.

To do this, select a wider
aperture if working with a
DSLR or select the
Portrait Mode on a
compact camera to tell it
you want to work with a
wider aperture.
If you're working with plants and flowers try creating your own
backgrounds out of card and material which can be slipped
into your bag alongside your camera gear.
Figure to ground
Try to focus on your subjects and make them stand out by
narrowing in on the contrast between the subject and the
background.
The more contrast, the more dramatic your shots and the
more prominent your subject. A winning photo composition
also remains the one where your main subject is isolated due
to the contrast solution.
Hint for photography composition with two subjects in the photo.
Use the Golden Ratio rule or the rule of thirds to balance your image.
Look For Symmetry/Patterns
Filling your frame with a
pattern that repeats gives
the shot more impact,
exaggerating the
size/number of the
objects you're
photographing.
Shots, where there's symmetry in them such as lamp posts
lining either side of a street, a long line of trees or a series
of arches, can also be used to guide the eye to a single
point. Just remember you need a focus point at the end of
your shot otherwise it won't work as well.
Symmetry can also involve non-related objects that

resemble each other in shape, colour or texture.
Create Depth
Having fore-, middle- and background detail will add depth
to your image as well as draw the eye through the picture.
Compositional elements that complement each other, for

example with colour or by association, work well but do be
careful with the size of objects you use and how you place
them as you don't want the shot to be thrown off balance.

You don't want a rock in the foreground of your landscape shot, for example,
drawing the eye away from the hills and mountains in the background. Adding
water to the foreground can also lighten your shot as well as adding an extra
element of interest as it reflects the sky back out.
Center Dominant eye
When photographing people, place the dominant eye in
the center of the photograph.
This makes the photograph more luring as it appears that

the subject’s eyes are following the viewer.
High or low
Experiment with a bird's eye view (getting above the
subject) or a worm's eye view (getting below) to create a
compelling perspective.
Reflect
Improve your composition by revisiting your work and
studying the work of other photographers. Look at photos
you like, and note why different elements work well visually.

Course Title:
BASIC
PHOTOGRAPHY II
Lecture 6
Introduction to Adobe
Photoshop CC
Introduction to Adobe Photoshop CC
Adobe Photoshop is a raster graphics editor developed and

published by Adobe Inc. for Windows and macOS.
Photoshop was developed in 1987 by two brothers Thomas
and John Knoll, who sold the distribution license to Adobe
Systems Incorporated in 1988.
Since then, the software has become the industry standard
not only in raster graphics editing, but in digital art as a whole.
The software's name has thus become a generic trademark, leading to
its usage as a verb (e.g. "to photoshop an image", "photoshopping",
and "photoshop contest") although Adobe discourages such use.

Introduction to Adobe Photoshop CC
• Photoshop can edit and compose raster images in

multiple layers and supports masks, alpha compositing
and several color models including RGB, CMYK,
CIELAB, spot color, and duotone.
• In addition to raster graphics, Photoshop has limited
abilities to edit or render text and vector graphics as well
as 3D graphics and video.
• Its feature set can be expanded by plug-ins; programs
developed and distributed independently of Photoshop
that run inside it and offer new or enhanced features.
• Photoshop files have default file extension as .PSD,
which stands for "Photoshop Document".
• A PSD file stores an image with support for most
imaging options available in Photoshop.
Photoshop files sometimes have the file extension .PSB,
which stands for "Photoshop Big" (also known as "large
document format").
Because of Photoshop's popularity, PSD files are widely used and supported to some extent by
most competing software, including GIMP and Affinity Photo. The .PSD file format can be
exported to and from Adobe's other apps, such as Adobe Illustrator, Adobe Premiere Pro, and
After Effects.
Getting to know the
Photoshop Interface
SEARCH BAR
DOCUMENT TAB
COLLAPSED
PANEL ICONS
MENU BAR
OPTIONS
BAR
TOOLBAR
PANEL
WORKSPACE GROUPS
DOCK
ZOOM
STATUS
LEVEL
BAR
PASTEBOARD
CANVAS

The Document Window
Is the large area in the center of the interface where the image is
displayed. It's also where we edit the image. The actual area
where the image is visible is known as the canvas. The dark area
surrounding the image is the pasteboard. The pasteboard doesn't
really serve a purpose other than to fill in the space around the image
when the image itself is too small to fill the entire Document window:
The Document Tab
At the top of the Document window is the document's tab.
The tab displays the name and file type of the document and its
current zoom level. The tab is also how we switch between
document windows when we have more than one image open in
Photoshop.
The Zoom Level And Status Bar
In the bottom left of the Document window, we find more
information about the image. The current zoom level is displayed,
just like it is in the document's tab. And to the right of the zoom level
is the Status Bar. By default, the Status Bar displays the color
profile of the image.
The Toolbar
The Toolbar (also known as the Toolbox or the Tools panel) is
where Photoshop holds all of its tools. You'll find it along the left
of Photoshop's interface. There's tools for making selections, for
editing and retouching images, for painting, adding type or shapes to
your document, and more
Expanding The Toolbar
By default, the Toolbar appears as a long, single column of
tools. Clicking the double-arrows at the top will expand the
Toolbar into a shorter, double column. Click the arrows again to
return to the single-column layout
The Toolbar's Hidden Tools

Photoshop includes lots of tools. In fact, there are many more
tools than what we see. Most of the tools in the Toolbar have
other tools nested in with them in the same spot. Click and
hold on a tool's icon to view a menu of the other tools hiding
behind it.

The Options Bar
Directly linked to the Toolbar is Photoshop's Options Bar. The
Options Bar displays options for whichever tool we've selected
in the Toolbar. You'll find the Options Bar along the top of the
interface, just above the document window.
The Menu Bar

Along the very top of Photoshop's interface is the Menu Bar. The
Menu Bar is where we find various options and commands, all
grouped into categories. The File menu, for example, holds options
for opening, saving and closing documents. The Layer menu lists
options for working with layers. Photoshop's many filters are found
under the Filter menu, and so on.
Workspaces
A workspace in Photoshop is a preset collection and
arrangement of the various interface elements. Workspaces can
control which of Photoshop's panels are displayed on the screen,
along with how those panels are arranged. A workspace can
change the layout of the tools in the Toolbar. Items in the Menu Bar,
along with keyboard shortcuts, can also be customized as part of a
workspace.
By default, Photoshop uses a workspace known as Essentials.

The Search Bar
New in Photoshop CC is the Search bar. The Search bar lets
us quickly find tools or commands in Photoshop, as well as
tutorials on different topics, or images from Adobe Stock.
To use the Search feature, click on the Search icon (the magnifying
glass) in the upper right of Photoshop.
The Panels
Along the right of Photoshop's interface is where we find the
panels. Panels give us access to all sorts of commands and
options, and there are different panels for different tasks.
The most important panel is the Layers panel. It's where we add,
delete and work with layers in our document. But there are lots of
other panels as well, all of which we'll be looking at later.
The Layers panel
Photoshop Tools
Pen tool
The pen tool creates precise paths that can be manipulated using anchor points.
The free form pen tool allows the user to draw paths freehand, and with the
magnetic pen tool, the drawn path attaches closely to outlines of objects in an
image, which is useful for isolating them from a background.
Clone stamp tool
The Clone Stamp tool duplicates one part of an image to another part of the same
image by way of a brush. The duplication is either in full or in part depending on
the mode. The user can also clone part of one layer to another layer. The Clone
Stamp tool is useful for duplicating objects or removing a defect in an image
Shape tools
Photoshop provides an array of shape tools including rectangles, rounded
rectangles, ellipses, polygons and lines. These shapes can be manipulated by
the pen tool, direct selection tool etc. to make vector graphics. In addition,
Photoshop provides its own shapes like animals, signs and plants.
Measuring and navigation
The eyedropper tool selects a color from an area of the image that is clicked,
and samples it for future use. The hand tool navigates an image by moving it in
any direction, and the zoom tool enlarges the part of an image that is clicked on,
allowing for a closer view.
Selection tools
Selection tools are used to select all or any part of a picture to perform cut, copy,
edit, or retouching operations.
Cropping
The crop tool can be used to select a particular area of an image and discard the
portions outside the chosen section. This tool assists in creating a focus point on
an image and unnecessary or excess space. Cropping allows enhancement of a
photo's composition while decreasing the file size.
The crop tool is in the tools palette, which is located on the right side of the
document. By placing the cursor over the image, the user can drag the cursor to
the desired area. Once the Enter key is pressed, the area outside the rectangle will
be cropped. The area outside the rectangle is the discarded data, which allows for
the file size to be decreased. The crop tool can alternatively be used to extend the
canvas size by clicking and dragging outside the existing image borders.
Slicing
The slice and slice select tools, like the crop tool, are used in isolating parts of
images. The slice tool can be used to divide an image into different sections, and
these separate parts can be used as pieces of a web page design once HTML and
CSS are applied. The slice select tool allows sliced sections of an image to be
adjusted and shifted.
Moving
The move tool can be used to drag the entirety of a single layer or more if they are
selected. Alternatively, once an area of an image is highlighted, the move tool can
be used to manually relocate the selected piece to anywhere on the canvas.
Marquee
The marquee is a tool that can make selections that are a single row, single
column, rectangular and elliptical. An area that has been selected can be edited
without affecting the rest of the image. This tool can also crop an image; it allows
for better control. In contrast to the crop tool, the marquee tool allows for more
adjustments to the selected area before cropping. The only marquee tool that
does not allow cropping is the elliptical.
Lasso
The lasso tool is similar to the marquee tool, however, the user can make a
custom selection by drawing it freehand. There are three options for the lasso
tool – regular, polygonal, and magnetic.

The regular lasso tool allows the user to have drawing capabilities. Photoshop
will complete the selection once the mouse button is released. The user may
also complete the selection by connecting the end point to the starting point. The
"marching ants" will indicate if a selection has been made.
The polygonal lasso tool will draw only straight lines, which makes it an ideal
choice for images with many straight lines. Unlike the regular lasso tool, the user
must continually click around the image to outline the shape. To complete the
selection, the user must connect the end point to the starting point just like the
regular lasso tool.
Magnetic lasso tool is considered the smart tool. It can do the same as the
other two, but it can also detect the edges of an image once the user selects a
starting point. It detects by examining the color pixels as the cursor move over
the desired area.
The quick selection tool selects areas based on edges, similarly to the magnetic
lasso tool. The difference between this tool and the lasso tool is that there is no
starting and ending point. For this reason, the selected area can be added onto as
much as possible without starting over. By dragging the cursor over the desired
area, the quick selection tool detects the edges of the image. The "marching ants"
allow the user to know what is currently being selected. Once the user is done, the
selected area can be edited without affecting the rest of the image.
Magic wand
The magic wand tool selects areas based on pixels of similar values. One click will
select all neighboring pixels of similar value within a tolerance level set by the user.
If the eyedropper tool is selected in the options bar, then the magic wand can
determine the value needed to evaluate the pixels; this is based on the sample size
setting in the eyedropper tool.
Eraser
The Eraser tool erases content based on the active layer. If the user is on the
text layer, then any text across which the tool is dragged will be erased. The
eraser will convert the pixels to transparent, unless the background layer is
selected. The size and style of the eraser can be selected in the options bar.
This tool is unique in that it can take the form of the paintbrush and pencil tools.
In addition to the straight eraser tool, there are two more available options –
background eraser and magic eraser.
The background eraser deletes any part of the image that is on the edge of an
object. This tool is often used to extract objects from the background.
The magic eraser tool deletes based on similar colored pixels. It is very similar to
the magic wand tool. This tool is ideal for deleting areas with the same color or
tone that contrasts with the rest of the image.
Adobe Photoshop CC
Practical tools Demonstration
Course Title:
BASIC
PHOTOGRAPHY II
Lecture 7
Adobe Photoshop CC
Keyboard shortcuts
TOOLS
V Move O Dodge, Burn, Sponge
M Marquee tools P Pen tools
L Lasso tools T Type tools
W Quick Selection, Magic Wand A Path Selection, Direct Selection
C Crop and Slice tools U Rectangle, Rounded Rectangle,
I Eyedropper, Color Sampler, Ruler, Ellipse, Polygon, Line, Custom Shape
Note, Count K 3D tools
J Spot Healing Brush, Healing Brush, N 3D Camera tools
Patch, Red Eye H Hand
B Brush, Pencil, Color Replacement, R Rotate
Mixer Brush Z Zoom
S Clone Stamp, Pattern Stamp D Default colours
Y History Brush, Art History Brush X Switch Foreground and Background
E Eraser tools colors
G Gradient, Paint Bucket Q Quick Mask Mode

SWITCHING TOOLS
To switch between all tools within groups, add the Shift key to the letters above.
For example, to switch between rectangular and elliptical marquee............Shift-M
SELECTING
Draw Marquee from Center............................................................... Alt-Marquee
Add to a Selection......................................................................................... Shift
Subtract from a Selection.................................................................................Alt
Intersection with a Selection.....................................................................Shift-Alt
Make Copy of Selection w/Move tool..........................................Alt-Drag Selection
Make Copy of Selection when not in Move tool.................... Ctrl-Alt-Drag Selection
Move Selection (in 1-pixel Increments)................................................Arrow Keys
Move Selection (in 10-pixel Increments)......................................Shift-Arrow Keys
Select all Opaque Pixels on Layer...... Ctrl-click on Layer Thumbnail (in Layers panel)
Restore Last Selection......................................................................... Ctrl-Shift-D
Feather Selection.....................................................................................Shift-F6
Move Marquee while drawing selection...........Hold Space while drawing marquee
VIEWING
Fit on Screen..................................................Double-click on Hand tool or Ctrl-0
100% View Level (Actual Pixels)............... Double-Click on Zoom Tool or Ctrl-Alt-0
Zoom in ............................................................... Ctrl-Space-Click or Ctrl-Plus(+)
Zoom out.............................................................Alt-Space-Click or Ctrl-Minus(–)
Hide all tools and panels................................................................................ Tab
Hide all panels except Toolbox and Options bar...................................... Shift-Tab
Rotate through full screen modes.......................................................................F
Scroll image left or right in window..................................Ctrl-Shift-Page Up/Down
Jump/Zoom to part of Image...................................... Ctrl-drag in Navigator panel
Toggles layer mask on/off as rubylith...................................................................\
PEN TOOL SHORTCUTS

To get Direct Selection tool while using Pen.....................................................Ctrl
Switch between Add-Anchor and Delete-Anchor Point tools..............................Alt
Switch from Path Selection tool to Convert Point tool when
pointer is over anchor point............................................................... Ctrl-Alt
To Select a whole path w/Direct Selection tool...........................................Alt-click
Convert path to a selection...................... Ctrl-click on path name (in Paths panel)

PANEL SHORTCUTS
Show/Hide Brushes panel ...............................................................................F5
Show/Hide Color panel.....................................................................................F6
Show/Hide Layers panel...................................................................................F7
Show/Hide Info panel.......................................................................................F8
Show/Hide Actions panel.............................................................................Alt-F9
Open Adobe Bridge................................................................................Ctrl-Alt-O
LAYER SHORTCUTS
Create new layer.................................................................................Ctrl-Shift-N
Select non-contiguous layers........................................................ Ctrl-Click layers
Select contiguous layers................... Click one layer, then Shift-Click another layer
Delete Layer.....................................................Delete key (while in the Move tool)
View contents of layer mask............................................Alt-Click layer mask icon
Temporarily turn off layer mask....................................Shift-Click layer mask icon
Clone layer as you move it....................................................................... Alt-Drag
Find/Select layer containing object...............Right-Click on the object w/Move tool
Change layer opacity..............................Number pad keys (w/Move tool selected)
Cycle down or up through blend modes............................... Shift-Plus(+) or Minus(–)
Switch to layer below/above current layer................................................ Alt-[ or Alt-]
Move layer below/above current layer......................................................Ctrl-[ or Ctrl-]
Characteristics of Photoshop
Smart Object
Smart objects are one of the most powerful features in
Photoshop. These smart objects are non-destructive in nature.
The user can edit them, create multiple copies of the object
which are interlinked with each other. These smart objects are pixel
independent, and it allows the user to scale it without getting blurry. Moreover,
any normal layer can be converted to a smart object layer by just right-clicking on
any layer.
Camera Shake Reduction

This feature works great for photographers as well as editors. It
works well when the user is working with some shaken shots or
some blurry images. It analyses the graph and restores the sharpness of
the image.
Adjustment Layers
These layers are another mode of non-destructive editing with
Photoshop. With these layers, the editing applies not to the
actual layer but it creates a new adjustment layer right above the
pixel layer. This feature works in favor of the designer as the designer can
change the blend mode or apply filters, change the opacity, or even get rid of this
layer anytime.
Content-Aware Move
This feature of the software works wonders for editors. It lets the
user select an object in a single layer image and move it
elsewhere as per their wish in the same picture. Moreover,
Photoshop does its job amazingly by filling the gap made by moving the object.

Camera Raw
It is the most commonly used plugin that helps in processing
raw images without using Lightroom and other file formats.
This plugin allows the users to add grain, performing post-crop
vignetting and remove noise from images.
Brushes
The upgraded brushes in the program offer the users to create
sharper and clearer lines and smooth brush strokes. When the
users work with the pencil, eraser, mixer brush or brush tools,
they get the benefit of controlling the smoothing of the brushes.
They get the opportunity to enter the value from 0 to 100 for the
smoothing of brushes.
Advantages and Disadvantages of Photoshop
▪ Adobe Photoshop offers a wide range of tools that have the
capability to edit or design anything. The software is upgraded
so much that it is not only used for images only. The program can
also be used to work on video content and edit them with great efficiency. It is
the best platform that supports a robust set of tools for video editing.
▪ Photoshop allows the editing of all popular and available

image file formats without requiring any extra plugin.
▪ Numerous small changes can be made to an image, such as
alter skin tone, fine-tune the brightness, red-eye removal,
retouching, and other modifications that can be done with great
ease in Photoshop.
Advantages and Disadvantages of Photoshop
▪ The learning curve of Photoshop is steeper for freshers.
▪ Small-time users and beginners may find Photoshop a bit
expensive.
Course Title:
BASIC
PHOTOGRAPHY II
Lecture 8 and 9
Adobe Photoshop CC
Practical tutorial Demonstrations on:
▪ Basic Image adjustments (crop, rotate,

cutout, color, filter and tones)
▪ Frequency separation and professional
editing techniques.
➢ Tutorial contents will be provided by course instructor or may be
downloaded online by students for further practice.
Course Title:
BASIC
PHOTOGRAPHY II
Lecture 10
Surrealism and Abstraction
• Surrealism was a cultural movement which developed in
Europe in the aftermath of World War I and was largely
influenced by Dada.
• The movement is best known for its visual artworks and
writings and the juxtaposition of distant realities to activate
the unconscious mind through the imagery. Artists painted
unnerving, illogical scenes, sometimes with photographic precision, creating
strange creatures from everyday objects, and developing painting techniques
that allowed the unconscious to express itself. Its aim was, according to
leader André Breton, to "resolve the previously contradictory conditions of
dream and reality into an absolute reality, a super-reality", or surreality.

Famous Surrealist photographers are the
American Man Ray, the French/Hungarian
Brassaï, French Claude Cahun and the
Dutch Emiel van Moerkerken.

Abstract photography, sometimes called non-objective,
experimental or conceptual photography, is a means of
depicting a visual image that does not have an immediate
association with the object world and that has been created
through the use of photographic equipment, processes or
materials.
An abstract photograph may isolate a fragment of a natural scene in order to
remove its inherent context from the viewer, it may be purposely staged to create
a seemingly unreal appearance from real objects, or it may involve the use of
color, light, shadow, texture, shape and/or form to convey a feeling, sensation or
impression.

The image may be produced using traditional photographic equipment like a
camera, darkroom or computer, or it may be created without using a camera by
directly manipulating film, paper or other photographic media, including digital
presentations.
In the 1920s and 1930s there was a significant increase in

the number of photographers who explored abstract imagery.
In Europe, Prague became a center of avant-garde
photography, with František Drtikol, Jaroslav Rössler,
Josef Sudek and Jaromír Funke all creating photographs
influenced by Cubism and Futurism. Rössler's images in
particular went beyond representational abstraction to pure
abstractions of light and shadow.

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