Exercise: Colours in to tones 1

This exercise provided a useful opportunity to practice:

Using the channel mixer

Converting colours into tones

Working with Hue and Saturation range of tools

It helped me to develop a greater awareness of how each colour react to my adjustments and the unexpected changes and side effects that these colour and tonal adjustments might cause.

For this exercise I selected two raw images that have strong contrasting colours. I used Adobe Photoshop/ Camera Raw to make adjustments.

Image 1 has a number of contrasting colours: the two dominating colours are magenta and cyan / blue; there are also green blue, orange and yellow.

I focused on the adjustments to Blue and Yellow colours.

I first saved the original image as a black and white (grayscale) version.

Image 1 Default black and white (grayscale) image in Camera Raw

I then adjusted the Blue and Yellow sliders in opposite directions as shown below.

 

Quote for the day: George Eliot on interpretation

All meanings, we know, depend on the key of interpretation.

George Eliot

Exercise: strength of interpretation - 2

Image 2: Original image in Adobe Lightroom

This image, taken at sunset, captured a range of colours in the sky and water reflections.

To make adjustments, I first opened the image in Adobe Lightroom and converted it into black and white.

I then used the Curve tool to create two versions of the image: high key and low key.

When the two images were ready, I switched the colours back on.

I compared the results (two versions of each high and low key).

My observations were as follows:

It was interesting to note how the whole mood of the image has changed with each adjustment.

Whilst both black and white images display an accepted tonal values and range, the colour images appeared unreal and exposed incorrectly.

The colour high key image lacks colour and definition. It seems washed out and bleak. The colour low key image developed a very rich and deep but unnatural blue. It also appears incorrectly exposed and is lacking detail, particularly in shadow areas.   

There was a clear difference in how different colours appear in black and white images. The exercise demonstrated that some colours are affected more than others. It was possible to make additional adjustments and apply filters in Adobe Lightroom and Adobe Photoshop to correct each individual colour and its appearance in a black and white image.

Image 2: High key colour

Image 2: High key black and white   

Image 2: Low key black and white   

Image 2: Low key colour

Strength of interpretation

This exercise explores the effect of removing the element of colour on processing of black and white and colour images, and the implications of reproducing reality.

For this exercise I selected two images that would benefit from increase in contrast: one is of a tree shot against the sky and the other one is of a seaside scene. Both images were shot in raw format.  

Image 1: Original image in Adobe Lightroom

Exercise: Black and white

For this exercise I chose a lakeside scene that features some interesting tree stumps right by the shoreline and a pine tree forest in the background. As my aim was to create more of a conceptual picture, I thought that black and white format would be particularly suited for it.

Below are my reflections on the effect that shooting in black and white had on the process.

Conception stage

The ideas that I wanted to explore through this picture were:

The cycle of life - the tree stumps and the pine forest; the dead and alive; the beginning and the end

Stillness and movement – I wanted to capture the water in the lake on slow exposure to show the movement or slight mist; the movement would be in contrast to the stillness of the tree stumps; there might be a little movement / haziness in the forest

I also thought that the tree stumps look almost alive, as some kind of alien creatures, and as if they are walking into the water or coming out of the water, also seem to be moving away from the forest. I wanted to capture this feeling and I thought that it would be possible to do that through a slow exposure to blur the water.

Picture 1 Original image in Adobe Lightroom

 

Interpretative process: Image 2

Image 2: Harmony

To see the full image, go to the Gallery

What was I trying to achieve?

My aim was to show the harmony that exists between the different elements of nature depicted in this picture: humans, water/ ocean and earth/ rock; to continue exploring the interconnectedness; to look at the way these elements interact with each other.   

Has this been achieved?

I’ve decided to use colour (not black and white) in this picture to emphasise the harmony, integration and similarities between the elements. For example, both the waves and the rock have strips of blue and yellow-orange colours (their sequential appearance suggests certain order, stability and direction).

It’s interesting to note that the word harmony is synonymous with accord, concord and synchronisation (sequence).

Interpretative process: Image 3

Image 3: Time

Go to the Gallery for the full image

What was I trying to achieve?

I aimed to explore the concept of time and how it affects the main elements of the image and the relationship between them.

Has this been achieved?

To bring attention to the element of time, I decided to use black and white tones and simulate a large grain effect. I wanted to create an effect similar to an old picture in a black and white newspaper (an image associated with time and the past).

I made adjustments to accentuate the waves. The introduction of the large grain also helped to make the waves much more defined.  This was necessary to bring into focus the elements of repetition (=time), recurrence and return. The connection between the people, the sea and the rock is very important in this image: the tonal range and the scale help to define it also in relation to time.

I think that this image brings the concept of time into focus, more so than the original image. It also shows well the interconnectedness that exists between the main elements of the image.   

Interpretative process: Image 1

Interpretation is often defined as the act of explaining the meaning of something, the explanation itself or a particular view of an artistic work, especially as expressed by stylistic individuality in its performance. In photography it is possible to pick up on an individual quality or an element of an image and by utilising the endless variations of light & shade, and colour & tone, convey an idea that such element might symbolise. It is also possible to create new links and build new associations through photographic images. It is about having a conversation, a dialogue that might extend way beyond a single photo or even a series of images.  

My three chosen variations of this image of the Cornish coastal scene reflect on my personal experiences of time, space and harmony. They embody my own interpretation of these natural processes and are expressions of my way of thinking, living and experiencing life. In a way, they are very much a part of my continuous thinking and reflecting on the nature of things in life.

Image 1: Space (showing adjustments panel)

For the full image, go to the Gallery.

Image 1: Space (full screen)

What was I trying to achieve with this image?

I wanted to create an image that explores the experience of space through the measures such as scale and perspective. I also wanted to draw attention to the way the different elements of an image interact with each other, exploring the concepts of borders, the beginning & ending. 

Has this been achieved?

The elements of this image represent space differently, from the sea (immeasurable, immense, massive) to the large rock (black, heavy and huge in comparison to people, but small in relation to the sea) and two people (tiny specs in relation to the sea; small and fragile in comparison to the rock). The image gives a good sense of scale and perspective and is a good choice for starting to explore the ideas of space, scale and perspective.

Interpretation: related definitions

Interpretation: related definitions (from an online dictionary): 

Act, Artist, Conception, Construction, Dream, Embodying, Enigma, Explaining, Explanation, Exposition, Expressing, Foreign, Formulae, General, Give, Given, Interpretation, Interpreter, Interpreting, Is, Language, Meaning, Nature, Obscure, Obtained, Passage, Power, Process, Same, Scripture, Sense, Special, Thought, Translation, Various, Version, Way, What

Interpretative process

This exercise is about making interpretations for a creative purpose.  

For this exercise I selected an image shot on the Cornwall coast in August. The image was shot in raw format.  

Picture 1 Original optimized Image in Adobe Lightroom

The picture was taken at sunset and the water looked beautiful, reflecting the blues, turquoise, pink and orange tones of the clouds in the sky. I spotted the figures of two walkers on the beach and zoomed on them and the massive rock immediately next to them.   

For this exercise I used Adobe Photoshop and Lightroom to process my image. The main stages of my image processing workflow, described in Assignment 1, were used to complete this exercise.  After completing the necessary optimization steps I had the image ready for my creative interpretation exercise. 

Picture 2 Panel of images: interpretations

Processing the image: managing colour. Summary and lessons

Summary and lessons

Through this exercise and by consulting existing manuals, I found that colour cast can be corrected by using:

• Levels, for example by adjusting Input and Output sliders of individual colour channels
• Curves (also exist in Levels), by using a mid-tone (grey) eyedropper to set mid-tone range
• Hue/ Saturation, by applying adjustments to individual colours or to the image general colour scheme
• Threshold mode (Alt key) could be used to close in highlight and shadow points. These adjustments could be done in individual channels for accuracy.
• Some images work better in black and white so switching to black and white or single tone image is another option!

Processing the image: managing colour

My second image (Jpeg format) was taken in Truro Cathedral.

Picture 1 Original Jpeg image in Adobe Lightroom

The image displays strong yellow and orange colour cast. The likely cause of this colour cast is the combination of daylight and strong artificial light sources in the Cathedral.

I noted that the colour of the stone walls and colonnades of the Cathedral can be used as a mid-tone reference point for adjustments: although it might not be purely neutral grey, it’s still near the middle of the spectrum.

Correcting colour cast using Levels

I started by adjusting the Levels (Image- Adjustments – Levels) in Adobe Photoshop. I selected the grey point tool and sampled different areas of the image to set mid tones. I did not find the adjustments satisfactory as the colours were becoming too strong and unnatural.

Picture 2: Colour corrections using Levels

Processing the image: managing colour

This exercise is about optimising colour as part of the processing the image.

For this exercise I selected some images that I shot earlier this summer: one is indoor with mixed artificial and natural lighting and the other image is outdoor, taken late in the evening with a combination of low level natural light and street light. As with the previous exercise, I shot Raw and Jpeg image for comparison.

For this exercise I used Adobe Photoshop to process my Jpeg image and I used Camera Raw to open and process my raw image.  

The main stages of my image processing workflow described in Exercise 1 were used to complete this exercise; the summary of the steps are included below as well as the images to demonstrate these steps.

Raw image editing in Camera Raw/ Adobe Photoshop 

Opened Photoshop: File-Open to open the file

Camera Raw opens.

Picture 1 Original image in Camera Raw

I then tried various available white balance settings. The most natural and realistic were daylight, cloudy and shade.

Picture 2 Shade white balance setting

Processing the image: managing tone. Lessons learnt.

Summary and lessons

So this exercise was a good opportunity for me to compare the different formats (raw and Jpeg in this instance) in relation to image tone and colour optimisation. It was also a chance to learn and practice the relevant techniques as well as to look critically and objectively at my digital workflow developed and polished through the previous exercises and the two key software programmes that I use for this work: Adobe Lightroom and Adobe Photoshop /Camera Raw.

My lessons from this exercise:

1)    I like the versatility of raw format and this exercise once again confirmed my preference to use raw files where possible.

2)    I found the features of Camera Raw and Adobe Lightroom to be comparable, although Adobe Lightroom wins where speedy adjustments are required.

3)    Black point and white point adjustments are important and depending on an image, might require experimenting. It took me a while to set the points for the image used in this exercise. It’s helpful to spend time playing with different settings and adjustments just to get enough practice and see how different images respond to the adjustments. The more you practice, the faster and more precise the adjustments will become.

4)    Contrast, brightness and mid-tones adjustments can be highly intuitive. It’s possible to interpret the image adjustments and what is required to produce the final image in different ways. The selection of images included with this note is the best illustration of this. Even a very slight difference in the tone and colour could introduce a different 'mood' or highlight a slightly different angle of a subject. 

  

Processing the image: managing tone - 2

Back at my computer desk, I followed my workflow with only one difference: for the purpose of this exercise I used both Adobe Lightroom and Adobe Photoshop/ Camera Raw to open and process my files. The aim was to check and compare the programmes as well as to learn about tone and colour optimisation.

The main stages of my image processing workflow described in Exercise 1 were used to complete this exercise so there is no need to repeat myself and spell out the process.

After my image was transferred from the camera memory card to hard drive, I opened Adobe Lightroom to view it. I then followed all stages of my workflow to the final image. After the process was complete, I repeated the steps using Adobe Photoshop this time.

The summary of the steps relevant to this exercise are given below as well as the images to demonstrate these steps.

Image editing in Adobe Photoshop   

Opened Photoshop: File-Open to open the file.

I used Camera Raw to open and make adjustments in raw image.

Lessons from the exercise. Processing the image: raw

My lessons from this exercise:

1)    My preference remains with record images in raw format supplemented by tiff or jpeg as a second choice. I am still of the opinion that raw format offers slightly more flexibility and choice. However, this exercise proved that the value of raw format is the highest when the lighting conditions are challenging. It is less obvious when the lighting conditions are standard.

2)    It might be easier and faster to process raw files in

Processing the image: managing tone

This exercise is about optimising tone and colour as part of the processing the image.

My practice prior to this exercise: I have been using Adobe Lightroom and Photoshop for routine processing of my digital images. After a period of experimental working when I tried and tested different software packages, I have now settled on a system that is based on my personal workflow designed around Adobe Lightroom (initial stages) and Adobe Photoshop (final stages / adjustments). My workflow has been developed using the guidance from M. Evening software manuals and video training modules downloaded from the Adobe website. This year my workflow has been further improved through completing the workflow exercises for the OCA course and making sure that my display is properly calibrated. I have a great trust in my Eye-One software and I’ve seen a huge improvement in my practice since I started calibrating my monitor.

Third set of images: Artificial light

Picture 1: Truro Cathedral JPEG

This set of images was taken inside Truro Cathedral. This image clearly represents a challenge for the build-in camera computer as the camera has to compensate for the mixed lighting sources.

Picture 2: Truro Cathedral Raw

 

Second set of images: Wide dynamic range

Picture 1: Misty morning light (The Backs, Cambridge) JPEG

 

This set of pictures was taken in the morning hours of a bright and sunny day. The image presents quite a challenge for the camera built-in computer because of significant variations of contrasting areas of low and high light: for example, the trees on the left are well lit up by the rising sun whilst the large tree on the right is in shadow and in turn produces a strong shadow that affects the foreground of the image.

The wide dynamic range of this image is evident from the histogram on the right. The values are reaching the edges and even slightly ‘falling off the edges’ of the histogram area.

Processing the image: raw

First set of images: Daylight

Picture 1: The Backs JPEG

This set of pictures was taken on a late morning with clear blue sky and plenty of light.

The light conditions appear to be clear and relatively easy to read for the camera in-built computer.

The image and the lighting conditions more or less fit into a camera exposure standard setting (white balance: sunshine symbol, daylight setting). Nevertheless, the difference between the values of the shadows and highlights of the image is quite significant as the picture was taken relatively early in the morning. For example, the buildings and the wall on the right hand side cast dark shadows on the water; there are areas of high contrast such as the sky and the shadows on the college buildings. The values on the histogram on the right are reaching the edges.

Reflections on the Exercise 1 (Assignment 3). Processing the image: raw

This exercise runs a comparative practical analysis of Raw and JPEG formats and the potential implications on image quality.

My practice prior to this exercise: Having tried different formats such as RAW, JPEG and TIFF, my preference now is to record images in raw format. I often shoot in raw and TIFF as it allows m flexibility and choice. I use Adobe Lightroom and Photoshop (raw converter) in my regular practice. I usually compare the two versions of the same image in Lightroom. I have noticed some slight variations in how the colours are reproduced in JPEG/ raw images. These variations usually matter when the lighting is tricky and extra adjustments are necessary.

So this exercise was a good opportunity for me to look critically (and try to look objectively) at how these different formats perform and whether the image quality is affected.

For the exercise I selected three images that were taken this summer/ autumn in Cambridge and Truro.

My camera settings were as follows:

First set of images:

JPEG and raw, large files

White balance: daylight

ISO speed: 200          

Second set of images:

JPEG and raw, large files

White balance: daylight

ISO speed: 200

Third set of images:

JPEG and raw, large files

White balance: I tried both tungsten and daylight for this exercise  

ISO speed: 50          

The process of analysing the images was as follows:

a)    For the first set of images I started with comparing the paired images (raw and JPEG) in Lightroom.

b)    I then made the necessary adjustments to the raw image.

c)    Finally, the results were compared and any differences were noted.

d)    The process was repeated for the remaining pairs of images with only one change: after comparing the images in Lightroom, I used Photoshop to open raw images. This was done to compare the programmes as well as the image results.