ADVANCE PHOTOGRAPHY NOTES

UNIT 1-

History of photography

1826: First Permanent Image

French inventor Joseph Nicéphore Niépce uses a camera obscura to burn a permanent image of
the countryside at his Le Gras, France, estate onto a chemical-coated pewter plate. He names his
technique "heliography," meaning "sun drawing." The black-and-white exposure takes eight
hours and fades significantly, but an image is still visible on the plate today.

Centuries of advances in chemistry and optics, including the invention of the camera obscura, set
the stage for the world’s first photograph. In 1826, French scientist Joseph Nicéphore Niépce,
took that photograph, titled View from the Window at Le Gras at his family’s country home.
Niépce produced his photo—a view of a courtyard and outbuildings seen from the house’s
upstairs window—by exposing a bitumen-coated plate in a camera obscura for several hours on
his windowsill.

1839: First Photo of a Person

In early 1839, French painter and chemist Louis-Jacques-Mandé Daguerre photographs a Paris
street scene from his apartment window using a camera obscura and his newly invented
daguerreotype process. The long exposure time (several minutes) means moving objects like
pedestrians and carriages don't appear in the photo. But an unidentified man who stops for a
shoeshine remains still long enough to unwittingly become the first person ever photographed.
1847: First Photo of Lightning

In 1847, early photography pioneer Thomas Easterly makes a daguerreotype of a bolt of

Lightning—the first picture to capture the natural phenomenon. Primarily a portraitist, Easterly
also makes pictures of landscapes, unusual for daguerreotypists.

1847: First Photos of War

In 1847, during the Mexican-American War, daguerreotypist Charles J. Betts follows the American
Army to Veracruz, Mexico, and, according to an advertisement, offers to Photograph “the dead
and wounded.” Dozens of anonymous daguerreotypes are also Taken of troop movements and
American officers. The first official war photos, though, are Of the Crimean War from 1855 to
1856. The British government sends several Photographers to document the war, but because of
his meticulous preparations, Roger Fenton, a British solicitor turned noted photographer, is the
only one to get good results. He and his assistants take some 350 images, mainly portraits.

1858: First Bird’s-Eye View

Felix Tournachon, better known by the nom de plume Nadar, combines his interests—
Aeronautics, journalism, and photography— and becomes the first to capture an aerial
Photograph in a tethered balloon over Paris in 1858.

1861: First Color Photo

The enormously influential Scottish physicist James Clerk Maxwell creates a rudimentary Color
image by superimposing onto a single screen three black-and-white images each Passed through
three filters—red, green, and blue. His photo of a multicolored ribbon is The first to prove the
efficacy of the three-color method, until then just a theory, and sets The stage for further color
innovation, particularly by the Lumière brothers in France.
1878: First Action Photos

California photographer Eadweard Muybridge, using new emulsions that allow nearly
Instantaneous photography, begins taking photograph sequences that capture animals and
Humans in motion. His 1878 photo series of a trotting horse, created with 12 cameras each
Outfitted with a trip wire, helps settle a disagreement over whether all four of a horse’s Hooves
leave the ground during a trot. (They do.) It also causes a popular stir about the Potential of
cameras to study movement. Muybridge goes on to create hundreds of image Sequences with
humans and animals as subjects. These photo series are linked to the Earliest beginnings of
cinematography.

CAMERA OBSCURA

A camera obscura, or a pinhole camera, is a simple device that is often thought of as a precursor
to the modern camera. The camera obscura, Latin for “dark chamber”, consists of a dark chamber
or box with a small hole in one of the four walls (or the ceiling). The light passing through the
small hole will project an image of a scene outside the box onto the surface opposite to the hole.
Since light moves in a straight line through the hole, the projected image will appear to be flipped
upside-down and inverted.

Camera Obscura technology has been around since ancient times, with observations dating back
to the fourth century BCE by a Chinese philosopher named Mozi. The camera obscura was studied
throughout the years, and was used as a way to safely observe a solar eclipse in the 13th century.
While early versions of the technology involved projecting into large rooms or tents, camera
obscuras were eventually modified to fit into small boxes. Sometimes, a lens is added to focus the
image, or mirrors are used to flip the image right-side-up before it is projected onto a screen.

THE DAGUERREOTYPE
Louis-Jacques-Mandé Daguerre invented the daguerreotype process in France. The invention was
announced to the public on August 19, 1839 at a meeting of the French Academy of Sciences in
Paris. American photographers quickly capitalized on this new invention, which was capable of
capturing a “truthful likeness.” Daguerreotypists in major cities invited celebrities and political
figures to their studios in the hopes of obtaining a likeness for display in their windows and
reception areas. They encouraged the public to visit their galleries, which were like museums, in
the hope that they would desire to be photographed as well. By 1850, there were over 70
daguerreotype studios in New York City alone.

Popularity of the daguerreotype declined in the late 1850s when the ambrotype, a faster and less
expensive photographic process, became available. A few contemporary photographers have
revived the process.

The Process

The daguerreotype is a direct-positive process, creating a highly detailed image on a sheet of

copper plated with a thin coat of silver without the use of a negative. The process required great
care. The silver-plated copper plate had first to be cleaned and polished until the surface looked
like a mirror. Next, the plate was sensitized in a closed box over iodine until it took on a yellow-
rose appearance. The plate, held in a lightproof holder, was then transferred to the camera. After
exposure to light, the plate was developed over hot mercury until an image appeared. To fix the
Image, the plate was immersed in a solution of sodium thiosulfate or salt and then toned with
gold chloride.

Exposure times for the earliest daguerreotypes ranged from three to fifteen minutes, making the
process nearly impractical for portraiture. Modifications to the sensitization process coupled with
the improvement of photographic lenses soon reduced the exposure time to less than a minute.

Although daguerreotypes are unique images, they could be copied by redaguerreotyping the
original. Copies were also produced by lithography or engraving. Portraits based upon
daguerreotypes appeared in popular periodicals and in books. James Gordon Bennett, the editor
of the New York Herald, posed for his daguerreotype at Brady’s studio. An engraving, based on
this daguerreotype later appeared in the Democratic Review.

The Cameras

The earliest cameras used in the daguerreotype process were made by opticians and instrument
makers, or sometimes even by the photographers themselves. The most popular cameras utilized
a sliding-box design. The lens was placed In the front box. A second, slightly smaller box, slid into
the back of the larger box. The focus was controlled by sliding the rear box forward or backwards.
A laterally reversed image would be obtained unless the camera was fitted with a mirror or prism
to correct this effect. When the sensitized plate was placed in the camera, the lens cap would be
removed to start the exposure.

Eadweard Muybridge

British photographer Eadweard Muybridge was born on April 9th 1830 in Kingston upon Thames,
later emigrating the United States in the 1850s.

Muybridge is renowned for his ground-breaking work in animal locomotion, proving a horse does
in fact fly when galloping. He was one of the first photographers to use multiple cameras to
capture motion, then projecting the findings with his creation of the zoopraxiscope - a device for
projecting motion pictures that pre-dated the flexible perforated film strip.

Muybridge’s most famous production experiment, which took place on June 19th, 1878. It was
this experiment that laid the foundations for the future development of motion pictures,
consisting of 24 photographs in a fast-motion series. Muybridge was commissioned by former
Governor of California, Leland Stanford, a businessman and race-horse owner, who had taken a
position on a popularly-debated question of the day: whether all four of a horse’s hooves are off
the ground at the same time during the trot, which was successfully proven by Muybridge’s
experiment. As a result of the commission, Stanford published a book The Horse in Motion, but
gave no credit to Muybridge despite containing his photos and his research, possibly because
Muybridge lacked an established reputation in the scientific community.

Between 1883 and 1886 Muybridge took over 100,000 images at the Unversity of Pennsylvania,
resulting in over 700 sequences, studying the movement of humans and animals. Many of these
works can be found in Europeana, featuring models either entirely nude or with very little
clothing, photographed in a variety of undertakings, ranging from boxing, to walking down stairs,
to throwing water over one another and carrying buckets of water. Today his findings and
fundamentals are still used, with similar setups of carefully timed multiple cameras are used in
modern special effects photography with the opposite goal: capturing changing camera angles
with little or no movement of the subject. Muybridges’s work is also a major reference for
technical artists and figurative drawing.

UNIT 2-

INTRODUCTION TO FAMOUS PHOTOGRAPHERS

HENRI CARTIER-BRESSON

Henri Cartier-Bresson was born in 1908 in Chanteloup, France. Throughout his childhood, Cartier-
Bresson was interested in the arts. He was influenced by his father, a respected and wealthy
textile merchant and his uncle, an accomplished painter. As a young boy Cartier-Bresson read the
literature of the day by authors such as Dostoyevsky, Rimbaud, Proust, and Joyce. In addition to
literature, he intensely studied painting.

By 1927 he painted under Andre Lhote. Lhote was a conservative; Cartier-Bresson had always
been restless and conservatism did not suit him. It was also a time when many artists were
experimenting to further the theory of art. He befriended Rene Crevel and soon began to practice
surrealism. I was marked, not by surrealist painting, but by the conceptions of Breton, which
satisfied me a great deal: the role of spontaneous expression and of intuition and, above all, the
attitude of revolt. In 1928 Cartier-Bresson attended Cambridge University, England, where he
studied literature and painting. It was here that he was introduced to film and photography.

By 1929 he began to take photography seriously. In 1931, Cartier-Bresson discovered the hand-
held Leica camera and was practically consumed by the new art form. He made the conscious
decision to pursue photography as a career. I kept walking the streets, high-strung, and eager to
snap scenes of convincing reality, but mainly I wanted to capture the quintessence of the
phenomenon in a single image. Photographing, for me, is instant drawing, and the secret is to
forget you are carrying a camera. Manufactured’ or staged photography does not concern me.
And if I make a judgement it can only be on a psychological or sociological level. There are those
who take photographs arranged beforehand and those who go out and discover the image and
seize it. For me the camera is a sketchbook, an instrument of intuition and spontaneity, the master
of the instant, which in visual terms, questions and decides simultaneously. Thus evolved a theory,
not entirely his, but definitely practiced by Cartier-Bresson and forever associated with his name,
the decisive moment. The original phrase came from Cardinal de Retz who stated everything in
the world has its decisive moment. Roaming the streets, Cartier-Bresson would photograph
moments most eyes would surpass for everyday life, but to him these were the true moments of
human existence.

Robert Capa

Born André Friedmann in Budapest, Robert Capa left Hungary in 1930 for Berlin, enrolled in the
Deutsche Hochschule für Politik as a student of journalism and political science, and served as a
darkroom assistant at the Deutsche Photodienst Agency. With the rise of the Nazis in 1933, Capa
left Germany for Paris, where he shared a darkroom with Henri Cartier-Bresson and Chim (David
Seymour). He worked regularly as a photojournalist, and between 1936 and 1939 made several
trips to Spain with his companion, Gerda Taro, to document the civil war.

His photographs from this conflict, including his most famous image, Death of a Loyalist Soldier
(1936), were heralded almost immediately for their stunning impact; Picture Post termed him
“the greatest war photographer in the world” in 1938. When World War II began, he moved to
America and worked freelance for LIFE, Time, and other publications. From 1941 to 1946, he was
a war correspondent for LIFE and Collier’s, traveling with the US Army and documenting Allied
victories in North Africa, the Allied landing at Normandy, and the Allied capture of Leipzig,
Nuremberg, and Berlin. After the war, Capa joined Henri Cartier-Bresson, Chim (David Seymour),
and George Rodger in founding Magnum, a cooperative photography agency providing pictures
to international publications. In 1948-1950, he photographed the turmoil surrounding Israel’s
declaration of independence. He traveled to Hanoi in 1954 to photograph the French war in
Indochina for LIFE; shortly after his arrival, he stepped on a landmine and was killed.

Robert Capa made photographs that achieved their exceptionally powerful effect through his
strong connection to and affection for people. This attitude, and his use of the small 35-millimeter
camera, allowed him to approach his subjects and throw himself into the action as no one else.
The result was a breakthrough in the history of photojournalism.

Dorothea Lange

A significant American photojournalist and photographer, Dorothea Lange, lived from 1895 until
1965. Lange studied photography under Clarence H. White in New York at the Columbia
University. She did many informal apprenticeships at studios of photography in New York,
including Arnold Genthe. She shifted to San Francisco in 1918 and the next year she opened her
own studio for portrait photography. In 1920, she tied herself into marriage with Maynard Dixon,
a noted painter and they had two children.

When the Great Depression hit the world, Lange left studio photography and took her camera to
the streets. She did photographic studies on homeless and unemployed people and this caught
the attention of other photographers which resulted in her being employed by the Resettlement
Administration, a U.S. federal agency which was then changed to FSA (Farm Security
Administration).

All the work she did between 1935 to 1939 for FSA was distributed to newspaper for free. Hence,
her images became popular among the public and her touching photos became the era’s icons.
Her best photo was Migrant Mother. Florence Owens Thompson who had seven children, was the
subject of this photo. Dorothea Lange described her experience of capturing this image in 1960.
Lange was attracted to the site of a desperate and hungry mother with her children cuddled to
her and she photographed them five times. Thompson told Lange about her conditions and how
she and her children were surviving on iced vegetables and birds that they killed. After this, Lange
went back home and told the newspaper editor of San Francisco about the camp conditions and
this resulted in an article with these photos. Then, the government instantly sent aid to those
starving people.

Dorothea Lange was given the Guggenheim Fellowship award in 1941 for photographic
excellence. However, she gave up the exalted award to document Japanese American’s forceful
evacuation to replacement camps, as assigned by the War Relocation Authority. Her focus was
the Manzanar camp. These pictures struck several observers to ponder over the fact that people
were detained without even being charged of any crime. The Army confiscated her images since
they were critical about the Army’s role. These pictures are available to date at the Bancroft
Library at the University of California and on the Still Photographs Division’s website.

Raja Deendayal

The doyen of Indian Photographers, Lala Deen Dayal was born in 1844 at Sardhana in Meerut in
United Provinces. He received technical education at Thomason Civil Engineering College in
Roorkee after which he joined as head estimator and draftsmen in the Public Works Department
at Indore. The ruler of Indore, Maharaja Tukoji II, encouraged him to set up his studio there. Sir
Henry Daly the Agent to the Governor General encouraged him. According to his Memoirs he was
thus able to obtain the patronage of Lord North Brook the Governor General of India in 1874. He
accompanied Sir Lepel Griffin on his central India tour during which he photographed views of
Gwalior, Khajraho and other sites in Central India.

In 1896 he expanded his business and opened the largest photography studio in Bombay, which
was patronized by the Indians as well as the British. The Nizam visited his studio at Bombay and
invited him to Hyderabad. He established a Photographic Studio in Secunderabad. The Nizam
Mahaboob Ali Pasha, Nizam VI was photographed by Raja Deen Dayal during his Shikars/Wedding
Ceremonies, visits by foreign royalty. The Nizam of Hyderabad conferred of him the Title of Raja
Musavir Jung Bahadur and a Mansab.

Raja Deendayal had two sons Gyanchand and Dharamchand assisting him. Dharmchand died in
1904 and this was a grievous loss to him. Besides the Nizam, Raja Deen Dayal photographed
various British dignitaries, Military exercises, the visit of King George V, then Prince of Wales. He
also accompanied the Nizam VI to Delhi for the Durbar in 1903.

He was honored in 1885 by Lord Dufferin and appointed official photographer to the Viceroy and
also to successive viceroys like Earl Elgin and Duke of Connaught. He had a unique honor of being
appointed as “Photographer to Her Majesty and Queen” by Queen Victoria in 1887. He received
numerous awards in exhibitions in India and abroad notable the World Colombian Commission in
1893 in USA.

He passed away on 5th July 1905.His son Gyan Chand continued his work in Hyderabad studio and
subsequently his sons Trilok Chand, Hukum Chand and Ami Chand continued the business in
Hyderabad.

Raghubir Singh

Born to an aristocratic family in Jaipur on Oct. 22, 1942, Raghubir Singh received his first camera,
a gift from his brother, at the age of 14.

That marked the beginning of his lifelong fascination with photography, which would eventually
lead to a career spent living in Hong Kong, Paris, and New York. As a photojournalist, he
contributed to the New York Times Magazine, Time, and National Geographic, among others. But
right up to his death in 1999, and despite all his travels, Singh’s most important subject was his
native India.
Until Jan. 02, 2018, the Met Breuer, part of New York City’s Metropolitan Museum of Art, is
hosting a retrospective of Singh’s work, featuring 85 of his photographs shot in the country,
alongside examples of the colourful Mughal-era court paintings that he was inspired by.

At a time when colour photography was dismissed as unserious by many professional

photographers, Singh embraced it to capture the many different realities of modern India,
recording vivid street scenes from almost every corner of the country. Taking inspiration from
legendary European photographers such as Henri Cartier-Bresson and Eugene Atgèt, as well as
American street photographers like William Gedney and Lee Friedlander, Singh went on to define
an Indian version of photographic modernism, and his images revealed a whole new way of
looking at and understanding the country

Raghu Rai

Raghu Rai (born in December 1942) qualified as civil engineer, started photography at the age of
23 in 1965. He joined The Statesman newspaper as their chief photographer (1966 to 1976), and
was then Picture Editor with Sunday-a weekly news magazine published from Calcutta (1977 to
1980).

In 1971, impressed by Rai’s exhibition at Gallery Delpire, Paris, the legendary photographer Henri
Cartier Bresson nominated him to Magnum Photos, the world’s most prestigious photographer’s
cooperative which Rai could start only in 1977, Rai took over as Picture Editor-Visualiser-
Photographer of India Today, India’s leading news magazine in its formative years. He worked on
special issues and designs, contributing trailblazing picture essays on social, political and cultural
themes of the decade (1982 to 1991).

He was awarded the ’Padmashree’ in 1972 for the body of works he produced on Bangladesh
refugees, the war and its surrender. In 1992 he was awarded “Photographer of the Year” in the
United States for the story “Human Management of Wildlife in India” published in National
Geographic. In 2009 he was conferred Officier des Arts et des Lettres by French Government.
His photo essays have appeared in many of the world’s leading magazines and newspapers-
including Time, Life, GEO, Le Figaro, Le Monde, Die Welt, The New York Times, Sunday The Times-
London, Newsweek, Vogue, GQ, D magazine, Marie Claire, The Independent and the New Yorker.
He has been an adjudicator for World Press Photo Contest, Amsterdam and UNESCO’s
International Photo Contest for many times. Currently, Raghu Rai lives in New Delhi and is working
on his 57th book.

Homai Vyarawalla

Homai Vyarawalla (1913-2012) was a pioneer in more than one sense of the word. Not only was
she India’s first female photojournalist but her career documented the overthrow of British
colonial rule. Born in 1913 in Navsari, Gujarat, to a Parsi family, Homai spent her earliest years in
and around Bombay. She studied photography at the Sir Jamsetjee Jeejebhoy School of Art, where
she took striking images of her classmates.

She certainly did for by the late 1930s she had moved to delhi and embarked upon what would
be a thirty year career in photojournalism.

Her photos were initially published under her husband’s name and then later under a pseudonym
she invented for herself, ‘Dalda 13’. It was not long before her work gained national regard and
she began photographing significant political figures and events in India’s Independence
movement. These included many candid portraits of Jawaharlal Nehru (her favourite subject),
photographs of Mahatma Gandhi and later India’s first female Prime Minister, Indira Gandhi.

UNIT 3-

UNDERSTRANDING CAMERAS

Introduction to 35mm Analog Photography

In the ever-evolving world of photography, one enduring medium that has stood the test of time
is 35mm analog photography. This classic form of image capture involves using a roll of 35mm
film, a format that is 35 millimeters wide, to record visual moments on a light-sensitive emulsion.
The distinct charm and methodology associated with 35mm analog photography have garnered
a dedicated following, offering a unique experience that contrasts sharply with the rapid
advancements in digital imaging.

The Essence of 35mm Analog Photography

At its core, 35mm analog photography embodies a hands-on and deliberate approach to
capturing images. Unlike the instantaneous nature of digital photography, working with film
demands careful consideration of settings such as aperture and shutter speed. Photographers
must manually adjust these parameters to achieve the desired exposure, fostering a deeper
understanding of the fundamental principles of photography.

The process begins with loading a roll of 35mm film into the camera. Each roll typically allows for
multiple exposures, and as the photographer advances the film after each shot, they wind up a
tangible connection between the frames. This physical engagement with the medium
distinguishes 35mm analog photography from its digital counterpart, where images are stored
electronically and lack a tangible, sequential presence.

The Role of Film in 35mm Analog Photography

The heart of 35mm analog photography lies in the film itself. The emulsion on the film contains
light-sensitive silver halide crystals, and when exposed to light, these crystals undergo chemical
changes. This latent image can be developed into a visible photograph. The selection of film type
significantly influences the final aesthetic of the image. Different films offer various color
renditions, contrast levels, and grain structures, providing photographers with a palette of
creative choices.
Film also plays a crucial role in shaping the dynamic range of an image. Unlike digital sensors, film
has a characteristic curve that responds uniquely to different lighting conditions. This distinctive
quality contributes to the timeless and nostalgic feel often associated with analog photographs.

The Manual Control and Artistic Freedom

One of the defining features of 35mm analog photography is the manual control it affords to
photographers. In a world where automation often dominates, the tactile experience of setting
aperture, adjusting shutter speed, and focusing manually adds a layer of intimacy to the
photographic process. This level of control empowers photographers to express their creativity
with precision, allowing them to craft images with a distinct personal touch.

Additionally, the unpredictability of film introduces an element of serendipity to the creative

journey. The occasional imperfections, such as light leaks, grain, or variations in color, become
part of the narrative, enhancing the authenticity and uniqueness of each photograph. This
departure from the clinical perfection often associated with digital photography contributes to
the allure of 35mm analog imagery.

DSLR OPERATIONS

A DSLR, or Digital Single-Lens Reflex camera, operates through a series of intricate processes to
capture high-quality images. Light passes through the camera’s lens, where it is refracted and
directed onto the camera’s image sensor. The reflex mirror inside the camera reflects the light
upward into the optical viewfinder, allowing the photographer to compose the shot.

When the shutter button is pressed, the reflex mirror quickly flips up, momentarily blocking the
viewfinder, and the shutter opens to expose the image sensor to light. The sensor converts the
incoming light into an electrical signal, and the camera’s image processor then translates this
signal into a digital image.
DSLRs offer manual control over various settings, including aperture, shutter speed, and ISO,
providing photographers with creative flexibility. Aperture controls the size of the lens opening,
affecting depth of field; shutter speed regulates the duration of exposure, influencing motion
blur; and ISO adjusts the sensor’s sensitivity to light.

Additionally, DSLRs often feature autofocus systems for precise focusing and interchangeable
lenses to cater to different photographic needs. This combination of optics, mechanics, and
electronics enables DSLRs to capture stunning and customizable photographs.

Understanding lenses (standard and zoom) and how perspective shifts with varying focal
lengths.

Lenses, particularly standard and zoom lenses, play a crucial role in photography by influencing
perspective through their focal lengths. Understanding how these lenses work and how
perspective shifts with varying focal lengths is fundamental for capturing visually compelling
images.

The focal length of a lens Is the distance from the lens to the image sensor or film when the
subject is in focus. It is measured in millimeters (mm). Standard lenses, often around 50mm,
provide a perspective similar to what the human eye sees, making them versatile for various
photographic situations. Zoom lenses, on the other hand, have variable focal lengths, allowing
photographers to zoom in and out to frame shots differently without changing lenses.

When it comes to perspective, focal length has a significant impact. A longer focal length, such as
85mm or 200mm, results in a narrower field of view, magnifying distant subjects and compressing
the perceived space between objects. This compression effect is often used in portrait
photography, where it helps isolate the subject from the background, creating a pleasing and
flattering look.

Conversely, shorter focal lengths, like 24mm or 35mm, widen the field of view. This is beneficial
for capturing expansive landscapes or fitting more elements into the frame. However, wide-angle
lenses can introduce distortion, especially near the edges of the frame, which photographers
need to consider when composing shots.

The concept of perspective is closely tied to how subjects appear relative to one another and the
background. With a standard lens, there’s minimal distortion, and objects appear more or less as
they do to the naked eye. When using a wide-angle lens, the exaggeration of foreground objects
can create a dynamic and immersive feel, but it requires careful composition to avoid unwanted
distortions.

Zoom lenses provide flexibility in adjusting focal length without changing the lens itself. This
versatility is particularly useful in situations where getting physically closer to the subject is
challenging or impossible. However, photographers must be mindful of how the changing focal
length affects perspective. Zooming in can compress the background, making distant elements
appear closer, while zooming out can emphasize the expanse of a scene.

Understanding perspective shifts with varying focal lengths enables photographers to make
intentional creative choices. For example, a photographer shooting a portrait might opt for a
longer focal length to achieve a pleasing background blur and subject isolation. In contrast, a
photojournalist covering an event might choose a wider focal length to capture more of the scene
and convey a sense of context.

Lenses, especially standard and zoom lenses, are powerful tools that influence perspective in
photography. The choice of focal length can dramatically impact the composition and emotional
impact of an image. Photographers who grasp these principles can use lenses more effectively to
tell compelling stories and create visually striking photographs.

Aperture, shutter speed, ISO as basic functions of operating a camera to take

photographs

Photography is an art that combines technical proficiency with creative vision. At its core, the
process of capturing a photograph involves manipulating three fundamental elements: aperture,
shutter speed, and ISO. Understanding how these components interact is crucial for achieving the
desired exposure and visual impact in your images.

Aperture:

Aperture refers to the opening in the lens through which light passes to reach the camera sensor.
It is measured in f-stops, represented by numbers like f/1.8, f/4, or f/16. The f-stop values
inversely correlate with the size of the aperture; a smaller f-number corresponds to a larger
aperture, allowing more light to enter.

The aperture plays a pivotal role in controlling the depth of field (DOF), influencing how much of
the image is in focus. A wide aperture (e.g., f/1.8) produces a shallow DOF, isolating the subject
from the background with a beautiful bokeh effect. On the other hand, a narrow aperture (e.g.,
f/16) increases DOF, keeping more elements in focus, ideal for landscapes.

Shutter Speed:

Shutter speed determines the duration for which the camera’s shutter remains open, exposing
the camera sensor to light. It is measured in seconds or fractions of a second, such as 1/1000,
1/250, or 2 seconds. A fast shutter speed (e.g., 1/1000) freezes fast-moving subjects, capturing
sharp details. In contrast, a slow shutter speed (e.g., ½) introduces motion blur, adding a sense of
movement to the image.

The choice of shutter speed Is crucial for controlling motion and capturing the right moment. For
example, sports photography often requires high shutter speeds to freeze athletes in action, while
long exposure photography may use slow shutter speeds to create smooth, flowing water or
capture star trails.

ISO

ISO measures the sensitivity of the camera sensor to light. Lower ISO values (e.g., ISO 100) result
in less sensitivity and are ideal for well-lit conditions, producing images with minimal noise.
Higher ISO values (e.g., ISO 1600 or higher) increase sensitivity, allowing for better performance
in low-light situations but may introduce more noise or grain to the image.
Selecting the appropriate ISO setting depends on the available light and the desired image quality.
In well-lit environments, a lower ISO is preferable to maintain image clarity, while in low-light
situations, a higher ISO can help capture usable images without sacrificing exposure.

Balancing Act:

Achieving a well-exposed photograph involves a delicate balance between aperture, shutter

speed, and ISO. This balance is often referred to as the exposure triangle. For example, if you
decide to use a wide aperture for a shallow DOF, you may need to compensate by either
increasing the shutter speed or raising the ISO to maintain proper exposure.

Understanding the relationships between these three elements empowers photographers to

make creative decisions based on the specific requirements of a scene. It’s about finding the right
combination to convey the intended mood and message of the photograph.

Basic rules of composition, framing and rule of the third.

Mastering aperture, shutter speed, and ISO is essential for any photographer seeking to go
beyond the realms of automatic settings. These fundamental elements offer a wealth of creative
possibilities, allowing photographers to express their vision and capture moments in a way that
transcends the limitations of point-and-shoot photography. As you delve into the world of manual
camera settings, experiment with different combinations to discover the unique effects they can
produce in your images.

Composition, framing, and the rule of thirds are fundamental principles in visual arts,
photography, and cinematography, serving as guiding principles to create visually appealing and
balanced images.

Composition:

Composition is the arrangement of visual elements within a frame to convey a specific message
or evoke a particular emotion. It involves the thoughtful placement of subjects, lines, colors, and
other elements to create a harmonious and meaningful image. A well-composed image guides
the viewer’s eye and communicates the intended narrative or feeling.

One crucial aspect of composition is the concept of balance. Balance can be achieved through
symmetry, where elements are evenly distributed on both sides of the frame, or asymmetry,
where various elements are placed in a way that creates equilibrium. Imbalance, when
intentional, can also be used to create tension and draw attention to specific elements.

Framing:

Framing involves using elements within the scene to create a frame around the main subject. This
technique can add depth, context, and focus to the subject, directing the viewer’s attention to
the intended focal point. Common framing elements include archways, door frames, windows, or
even natural elements like branches. By incorporating these frames, photographers and artists
can provide a sense of context or isolate the subject within its environment.

Framing serves not only as a visual device but also as a tool for storytelling. It can emphasize the
significance of the subject within its surroundings or establish a connection between different
elements in the composition.

Rule of Thirds:

The rule of thirds is a compositional guideline that involves dividing the frame into a 3x3 grid,
creating nine equally-sized sections. The main principle is to position key elements along these
gridlines or at their intersections. This approach is based on the idea that placing subjects off-
center is more visually appealing than centering them.

By adhering to the rule of thirds, photographers and artists can create a sense of dynamism and
interest within their compositions. Placing the main subject along one of the imaginary lines or
at an intersection point draws the viewer’s eye naturally, resulting in a more engaging and
balanced image.
Application:

Consider a landscape photograph where the horizon is placed along the lower horizontal line of
the rule of thirds grid. This positioning allows for a more captivating composition, emphasizing
either the sky or the foreground, depending on the photographer’s intent. Similarly, placing a
person’s eyes near the upper intersections when taking a portrait can enhance the overall visual
impact.

Framing can complement the rule of thirds by using natural or architectural elements to guide
the viewer’s gaze towards the strategically placed subjects. For example, photographing a subject
through an arched doorway not only frames the person but also adds depth and context to the
image.

The basic rules of composition, framing, and the rule of thirds provide a framework for creating
visually compelling and balanced images. Through intentional placement of elements,
consideration of balance, and adherence to these guidelines, artists and photographers can
convey their intended messages effectively. These principles serve as valuable tools for visual
storytelling, allowing for the creation of images that captivate and resonate with the viewer.

Understanding the relationship between aperture and depth of field

The relationship between aperture and depth of field is a fundamental concept in photography,
influencing how much of an image is in sharp focus. Aperture refers to the opening in a camera
lens through which light passes to reach the camera sensor. It is measured in f-stops, with smaller
f-stop values representing larger openings and vice versa.

Depth of field (DOF) is the range of distances in an image where objects appear acceptably sharp.
A shallow depth of field means that only a small portion of the image Is in focus, while a deep
depth of field keeps a larger area sharp. Aperture plays a crucial role in determining the depth of
field, and understanding this relationship is key to achieving desired creative effects in
photography.
When you use a wide aperture (represented by a small f-stop number, such as f/1.4 or f/2.8), the
lens opening is large, allowing more light to reach the sensor. A wide aperture results in a shallow
depth of field. This is often desirable in portrait photography, where the subject is sharply
focused, and the background is pleasantly blurred, emphasizing the person in the foreground.

Conversely, a narrow aperture (represented by a larger f-stop number, like f/16 or f/22) means a
smaller lens opening, letting in less light. A narrow aperture increases the depth of field, making
more of the scene in front of and behind the focal point appear sharp. Landscape photography
frequently benefits from a deep depth of field to ensure that both the foreground and background
details are clear and well-defined.

To visualize this relationship, imagine the aperture as the eye’s pupil. In bright light, the pupil
contracts (small aperture), letting in less light and providing a greater depth of field. In low light,
the pupil dilates (wide aperture), allowing more light and resulting in a shallower depth of field.

Understanding the impact of aperture on depth of field also involves considering the lens’s focal
length. Longer focal lengths (e.g., 100mm, 200mm) naturally produce a shallower depth of field
compared to shorter focal lengths (e.g., 24mm, 35mm) at the same aperture. This is why portrait
lenses with longer focal lengths are often preferred for isolating subjects against a blurry
background.

It's essential to note that the creative use of aperture extends beyond controlling depth of field.
Aperture also influences the exposure of an image. A wide aperture in low light conditions helps
capture well-exposed images without relying heavily on other exposure settings, such as shutter
speed or ISO.

The relationship between aperture and depth of field is a dynamic interplay that photographers
manipulate to achieve their artistic vision. A wide aperture results in a shallow depth of field,
suitable for isolating subjects, while a narrow aperture increases depth of field, ideal for capturing
expansive scenes. Understanding this relationship empowers photographers to make informed
decisions based on the desired visual outcome, whether it be a dreamy, blurred background or a
crisp, detailed landscape.
UNIT 4-

TYPES OF PHOTOGRAPHY

Photojournalism

Photojournalism is a powerful form of storytelling that combines the visual impact of

photography with the narrative depth of journalism. It serves to inform, engage, and provoke
emotional responses from the audience. In a world inundated with information, photojournalism
has the unique ability to distill complex stories into a single, compelling image.

One of the key strengths of photojournalism is its ability to capture the essence of a moment,
freezing it in time for the world to see. Take, for instance, the iconic photograph “The Falling Man”
by Richard Drew, taken during the 9/11 attacks. The image captures a man falling from the North
Tower, evoking a profound sense of tragedy and the human cost of the event. This single frame
conveys the horror, chaos, and vulnerability experienced on that fateful day.

Photojournalism also has the power to expose social issues and injustices. Dorothea Lange’s
photograph “Migrant Mother” during the Great Depression is a poignant example. The image of
a destitute mother with her children reflects the harsh realities faced by many during that era.
Through this photograph, Lange brought attention to the struggles of migrant workers and
contributed to a greater understanding of the human impact of economic hardship.

In conflict zones, photojournalists play a crucial role in bearing witness to the atrocities of war.
Kevin Carter’s photograph of a vulture stalking a starving child in Sudan, known as “The vulture
and the little girl,” shocked the world and drew attention to the famine in the region. While the
image sparked debates about the ethics of such photography, it undeniably highlighted the
urgency of addressing humanitarian crises.

Photojournalism extends beyond capturing tragedy; it also celebrates triumphs and human
resilience. The photograph “The Kiss of Life” by Rocco Morabito captures the dramatic moment
when a utility worker resuscitates a fellow worker who had been electrocuted. This image serves
as a testament to the strength of the human spirit and the bonds formed in high-stakes situations.

In the digital age, photojournalism continues to evolve with the rise of citizen journalism and
social media. Events unfold in real-time, and images can quickly reach a global audience,
influencing public opinion and shaping collective memory. While the immediacy of digital
platforms has expanded the reach of photojournalism, it also raises questions about authenticity,
manipulation, and the responsibility of photographers to provide accurate and unbiased
representation.

Types of photography

1. News Photography:

-Description: News photography captures moments of current events, aiming to tell a story
through images. It requires quick thinking, adaptability, and the ability to convey the essence of
a situation.

- Examples: A photojournalist capturing scenes of a protest, a disaster, or a political event. The

image should encapsulate the key elements of the story, conveying the emotions and context.

2. Sports Photography:

- Description: Sports photography focuses on capturing dynamic moments in sporting events. It

demands fast reflexes, knowledge of the sport, and the ability to freeze action in a compelling
way.

- Examples: A shot of a soccer player scoring a goal, a basketball player making a slam dunk, or
a sprinter crossing the finish line. The goal is to convey the energy and intensity of the sporting
moment.
3. Nature Photography:

- Description: Nature photography involves capturing landscapes, wildlife, and natural

elements. It requires patience, an understanding of natural light, and an eye for composition.

- Examples: Photographs of breathtaking landscapes, close-ups of flowers, or wildlife shots like

a majestic eagle in flight. The aim is to showcase the beauty and diversity of the natural world.

4. Portrait Photography:

- Description: Portrait photography focuses on capturing the personality, expressions, and

emotions of individuals or groups. It involves working with subjects to create visually compelling
images.

- Examples: Headshots for professional profiles, family portraits, or artistic portraits that
emphasize the subject’s character. The photographer aims to reveal the essence of the person
through composition and lighting.

5. Travel Photography:

- Description: Travel photography involves capturing images of landscapes, cultures, and people
from various locations around the world. It often aims to evoke a sense of place and convey the
unique experiences of a journey.

- Examples: Pictures of iconic landmarks, street scenes in bustling markets, or candid shots of
locals engaging in daily life. The photographer seeks to transport viewers to different destinations
through visuals.

6. Fashion Photography:
 - Description: Fashion photography showcases clothing, accessories, and styles in a visually
appealing and often artistic manner. It requires a keen sense of aesthetics, understanding of
fashion trends, and collaboration with models and stylists.

- Examples: High-end editorial shoots featuring models in designer outfits, catalog photos for
clothing brands, or avant-garde fashion spreads that push creative boundaries. The goal is to
highlight the clothing and convey a particular mood or style.

7. Advertisement Photography:

- Description: Advertisement photography is focused on creating images for promotional

purposes, whether for products, services, or brands. It involves collaboration with advertisers and
art directors to convey a specific message.

- Examples: Images of products in a visually appealing setting, lifestyle shots that showcase the
use of a service, or promotional visuals for brands. The aim is to grab attention, communicate a
message, and entice the audience to take action.

Each of these photography genres requires a unique set of skills and considerations, emphasizing
the importance of storytelling, aesthetics, and effective communication in visual form.

UNIT -5

Editing

– They are incredibly versatile, come in a variety of formats, and deliver context, information and
emotions that words alone struggle to convey. Having a clean and balanced image is of great
value. Newspapers have always used dramatic images to sell their stories. An image is the hook
that draws the reader’s eye to read the words. It breaks up the text, brightens the page and sets
the mood for the article. Websites use photos in the same way, to catch the readers before they
navigate away from a page, to draw them on to reading the content. You do not have to be a
professional photographer to produce good enough images. It does help to shoot a good clear
image in the first place, but simple snapshots can be improved a lot in an image editing program.
Whether you use a free image editing program like GIMP or Picasa, or purchase software such as
Adobe Photoshop, learning just a few basic image editing techniques can turn a photo from dull
waste of space to effective hook for your website. As a beginner in photo editing, you are
expected to learn the basics of image editing which are presented below.

1. Cropping-

Cropping an image effectively can already make a huge difference to its impact. When you cut
out distracting background, or a clutter of irrelevant objects around, the subject of your photo
stands out better. You can correct the placing of the subject if it is awkwardly placed by trimming
one side, focus more attention on a person’s face by cropping a wide shot into a portrait format
and much more. When cropping, keep in mind a basic rule of composition: the rule of thirds. This
golden rule of photography divides the image into thirds, horizontally and vertically and then
aligns the subject with one of the intersecting lines. The horizon in a landscape shot, usually works
best placed on one of these lines too. Read more about composition and then you can apply it
with your cropping tool.

2.Resizing and Compression

When you have cropped and edited your image, so you have it looking just the way you like, the
next stage is to resize and compress it to the optimum size for the use you intend it for. You may
want to save a copy of your edited image before you resize it, so that you can use it at a different
size later. When editing and preparing images for display it is important to consider the medium
over which your images will be transmitted. Are your images for print? Will it be used on a web
page? Or maybe they are for a PowerPoint presentation. Each of these media requires that you
adjust the size and resolution of your image appropriately. You know size refers to the actually
height and width that your image will be displayed as, but resolution is just as important.
Resolution refers to the number of dots per inch (dpi) that appear in your images final form. For
print these really may just be dots. On screen, however, these dots are referred to as pixels. An
image with high resolution (one produced for print, for example) will look very smooth and will
show virtually no pixilation. An image with low resolution (one produced for the screen—
particularly the web) may look far more pixelated. For print you want high resolution because
your printers can handle it and your pictures will look best. For the screen you must rely on layout
resolutions simply because monitors can only handle so much.

2.1. Resizing image from digital camera-

As the quality of digital cameras goes up, so does the volume of pixels they can capture. These
days, shooting in your camera’s highest quality mode can yield an image bigger than your printer
can actually print. While most image editing programs can resize your photo in their respective
print dialog boxes, knowing how to do it yourself gives you more control.

3. Correcting-

One of the first decisions you must make after downloading the files from your camera is whether
they all need generalized correction. This might be because the light that was used to make the
photographs was not consistent with the white balance setting on the camera. For example, the
camera might have been set for bright sun, but perhaps there was a small amount of haze, or
photographing on the north side of a building may have created a color bias in the image. If all
the images in a single group were photographed under these conditions, you would need to
correct all of them. Further, the entire image would need to be corrected to change the color
rendition because of the inconsistency between the light and the white balance.

4. Sharpening or Softening
Sharpening or softening is the last of the global corrections that are often applied to digital
images. This may be needed because of the way digital sensors are made and how this affects the
look of the captured image. In many digital sensors there is a diffusion material that slightly blurs
the captured image to eliminate unwanted effects such as moiré pattern. Both pixel sharpening
and edge sharpening correct these effects. Pixel sharpening is applied to the pixels with processes
such as unsharp masking. Edge sharpening is applied only to the pixels that the software can
identify as being on an edge. To your eyes, particularly as you look at a rasterized image on a
computer screen, the image sharpness will always seem like it can be improved. However, this
control should be used very sparingly to avoid over sharpening the image. Over sharpening
increases the contrast and often distorts color relationships and is the opposite of softening.
Sharpening may be applied in all steps of the imaging process: capture, processing and printing.
It should therefore not be applied in the camera because it can be corrected in processing and
printing.

Raster Image

Raster images are stored in a computer in the form of a grid of picture elements, or pixels. These
pixels contain the images color and brightness information. Image editors can change the pixels
to improve the image in many ways. The pixels can be changed as a group, or individually, by the
refined algorithms within the image editors.

- The domain of this article primarily refers to bitmap graphics editors, which are often used
to alter photographs and other raster graphics.
- Vector graphics software, such as Adobe Illustrator, Corel DRAW, Xara Designer Pro or
Inkscape, are used to create and modify vector images, which are stored as descriptions
of lines, Bézier splines and text instead of pixels.
- It is easier to rasterize a vector image than to vectorize a raster image; how to go about
vectorizing a raster image is the focus of much research in the field of computer vision.
 - Vector images can be modified more easily, because they contain descriptions of the
shapes for easy rearrangement. They are also scalable, being rasterizable at any
resolution.

Automatic Image Enhancement

- Camera or computer image editing programs often offer basic automatic image
improvement features that correct color hue and brightness imbalances as well as other
image editing features, such as red eye removal, sharpness adjustments, zoom features
and automatic cropping.
- These are called automatic because generally they happen without user interaction or are
offered with one click of a button or mouse button or by selecting an option from a menu.
- Some automatic editing features offer a combination of editing actions with little or no
user interaction.

Digital Data Compression

- Many image file formats use data compression to reduce file size and save storage space.
- Digital compression of images may take place in the camera, or can be done in the
computer with the image editor.
- When images are stored in Joint Photograhic Experts Group (JPEG) format, compression
has already taken place.
- Both cameras and computer programs allow the user to set the level of compression.

Some compression processes such as those used in Portable Network Graphics (PNG) file
format, are lossless, which means no information is lost when the file is saved. By contrast,
the JPEG file format uses a lossy compression algorithm by which the greater the
compression, the more information is lost, ultimately reducing image quality or detail that
cannot be restored. JPEG uses knowledge of the way the human brain and eyes perceive color
to make this loss of detail less noticeable.
Key Terms and Definitions Photoshop Document (.psd).

A .psd file is the file format in which Photoshop saves documents by default. It is a multi-layer
document that retains its full editing options when saved. In many cases, you will export web
graphics from a .psd document file format.

Layers.

Photoshop documents are composed of layers, which can basically be described as single
transparent sheets which hold particular pieces of an image. These layers can contain images,
text and vector graphics. They can be rearranged and grouped according to user needs. Layers
are controlled with the use of the Layers pane.

Selections.

Selections refer to regions in an image that will be affected by the various tools. A selection
in Photoshop is similar to a selection that you highlight in a word processing application. Once
you have selected an area, you can apply a tool to it, such as paintbrush, or perform an
operation such as copy or crop. Selections can be any shape and size; the shape depends on
which selection tool you are working with. Your selection will apply only to the current layer.
If that layer is empty in the region selected, an error message will appear. When this happens,
go to the Layers pane and select the correct layer.

Resolution.

Resolution refers to the number of pixels in a full size image. An image with high resolution
contains more information than an image with low resolution and therefore, one can always
convert a high resolution (hi-res) image to a low resolutions (lo-res) image. However, because
information is lost in the conversion, the reverse is not true. If you were to increase the
resolution of a lo-res image, the result would be fuzzy.

Image Size.
 Resolution should not be confused with image size, which is also expressed in pixels. Image
size deals with the actual number of pixels tall and wide an image is. For an idea of how the
two differ, go to Image Size in the Image menu, and plug in different numbers for image size
and resolution.

Color mode.

Color mode refers to the types of colors you will be using in your image. CMYK and RGB are
the most important of these modes to be familiar with.

• CMYK is the setting for images that will be printed to paper. The letters refer to the four
channels of color used to create every color available: cyan, magenta, yellow and black.

• RGB refers to the three channel color mode suitable for images to be viewed on the web:
red, green and blue.

Screen Resolution

Screen resolution is close to 72 pixels per inch. If you are working with graphics to be viewed
only on screen, 72 should be fine. Depending on the printer you are using, you may increase
this above 72 for graphics. The preferred resolution for images is 300 while the standard
resolution for printing is 150. A typical monitor is set to display somewhere around 800x600
pixels. This means that a 1”x1”, 600dpi (dots per inch) image would fill up most of the screen.
It is becoming more and more common that monitors are set to display at higher resolution—
somewhere around 1024x768 pixels.

For this reason you must design screen graphics at a lower resolution: 72dpi is the standard
for the world wide web (www). Due to screen resolution limitations, you should measure the
dimensions of images using pixels. To be safe, never publish an image for the web that is more
than 800 pixels wide or 600 pixels high. Unless the screen image you are using came from the
web, it is likely that you will have to edit the image so that it is an appropriate resolution and
size for display. To do so, rely on Photoshop’s tools for cropping and resizing images. As a basic
rule for a medium web-site image, reduce the longest side of your image to around 450pixels.
Make sure that it is set at the 72dpi standard resolution for web use. Adjust the quality further
if necessary, so that your final image ends up at about 30-50kb in size. Small thumbnail images
can be even smaller at 200 pixels wide and10-15kb in size.

Layering

Often times, when you find yourself frustrated with Photoshop, it is because you are trying to
perform operations on a layer that is not currently selected. Simply click on the name of a layer
in order to designate it as the current layer. Whenever you add text to an image in Photoshop,
the text appears on a new layer. You can "merge down" layers to consolidate them, and "flatten
image" to force the entire contents of the image onto one layer.

Learners like you are very creative. It is now time for you to transfer your learning on photo
editing into another way. This is one way to tap your multiple intelligences.

Adobe Photoshop

Adobe Photoshop is a seriously powerful photo and image editing application. Let us have a
quick look at what Photoshop is, and what it is not. Remember that Photoshop is not a drawing
program. This is a very common source of confusion and frustration. Although it is possible to
use Photoshop to design and construct original graphics, you will find that it is difficult and
limited. The reason is that Photoshop is not intended to be used for this type of work.
Photoshop is an image editing tool, not a design tool. To create original images, Adobe provides
other specialist programs such as Adobe Illustrator and Adobe Image Ready.

Compatibility

Photoshop tends to work well with other applications. As well as integrating seamlessly with
other Adobe products (such as Premiere, Illustrator, etc), Photoshop formats are also widely
recognized and able to be imported into programs such as Macromedia Fireworks, Corel Draw,
etc.

Elements of the Interface

Perhaps the most important element of the Photoshop interface is the toolbar. It contains a
bunch of icons that represent the different tools Photoshop offers to alter and create images.
These include tools for selecting specific areas of images, changing the colors of the image,
stretching, transforming, and erasing parts of an image, and many more. To get an idea of what
some of these tools can do, mouse over the icons and you will get an explanatory tool tip.

Panes

Panes are also important features of the Photoshop interface. All sorts of information are
displayed in these panes. They display location information, tool options, and history, among
other things. If you ever lose track of a specific pane (they tend to stack up), go to the windows
menu and select that pane to view it.

Menu Bar

Menus are probably the most familiar interface elements to a new Photoshop user. They
contain all sorts of options, but since these are not as visible as panes or the toolbar, they are
often only partially explored. Below are the features on the menu bar.

1. File Menu contains all of the stuff you expect. It lets you open and close documents with a
few extras including import, which deals with scanning, and save for web, which allows you to
export a web-ready image from your Photoshop file.

2. Edit Menu is another familiar menu. In Photoshop, edit houses all of the expected options
as well as fill and stroke, and other image-altering functions.
3. Items on the image menu affect a whole image for the most part. Here you will find color
adjustments, size adjustments, and any other changes you need to make globally when
working with a Photoshop file.

4. The layer menu is similar to the image menu. It allows you to make changes to an image
without altering your original image data. It contains options that affect only current or
selected layers. Just understand that an image in Photoshop consists of stacked transparent
layers. Options in the Layer menu affect these pieces of the image rather than the complete
image.

5. The select menu deals with selections you make. Selecting the specific parts of an image
you would like to change is a difficult part when working with Photoshop. This menu gives you
some options regarding selections, including the ability to save selections, reverse them, or
add to them. Learning the options on the selection menu can really save you some time.

6. The filter menu is probably what most people think when they work with Photoshop. The
filter menu allows you to apply filters to any part of your image. These filters include ways to
change the texture of the image, with some potentially radical results.

7. The view menu is where you change the view settings. You can use this to show and display
guidelines on the image and to zoom in and out, among other things.

8. The window menu allows you to toggle back and forth between hide and show for each
interface element. This is the first place you should go if you lose track of a particular window
while you are working.

9. Last and least is the help menu. The help documentation is not so helpful, but for some
reasons, this menu contains two nice features: resize image and export transparent image.

Options Bar

The options bar which is located directly underneath the menus is a useful tool when working
with the different Photoshop tools. As you can see right now, when the selection tool is in use,
 the options bar reflects the changes that can be made to how that specific tool operates. Here,
you have selection options and style options which include the ability to make the selection
tool a specific size in pixels. When you switch tools, to the paintbrush tool for instance, these
options change. When a tool in Photoshop is not behaving as you expect it to, the options bar
should be the first place you look to fix it.

Parts of the Options Bar

• Zoom In/Zoom Out tools: You can choose Zoom In or Zoom Out as separate tools to
avoid using the Alt key to toggle between the two.
• Zoom percentage: This figure shows you the current zoom level as a percentage. You
can edit the text by typing values between 5 and 3200.
• Zoom slider: Click the down-pointing arrow to open a slider bar. Drag the slider left to
zoom out or right to zoom in.
• Resize Windows to Fit: Select this check box to resize the window along with the image
zoom. Deselect the box to zoom in and out of an image while the image window
remains at a fixed size.
• Zoom All Windows: If you have multiple images open and select this check box,
zooming with the zoom tool zooms all open documents simultaneously.
• 1:1: Click this button to zoom the current window to a 1-to-1 ratio, showing the zoom
level at which the file will be printed.
• Fit Screen: Click to fit the image within the image window.
• Fill Screen: Click to zoom the current window to fill the screen.
• Print Size: Click to zoom the image to the size of the print file. Often, this option shows
you the same size as 1:1.

Creating Graphics in Photoshop

An advantage of Photoshop over basic photo editing software is the ability it gives you to create
your own graphics. There are numerous tools in Photoshop. Most of the functions these tools
perform are based on your selection in an image. The effect or tool only operates within a
selection. Make a small selection and select the paintbrush tool. Move the mouse over your
selection holding down the mouse button. You'll see that the image is only altered within the
selection

Foreground/Background Colors

The foreground color, which will be applied by tools like the paintbrush, is represented by the top
square in the middle of the toolbar.

Colors and Graphics

To change this color, double click the square. This reveals the color picker, where you can pick a
color with several different methods, including RGB values, hexadecimal codes and by simply
selection. If you are making an image for the web, it is best to check the "only web colors" box to
ensure that no dithering (reductions in color quality) will take place. Once you have picked your
color, click ok, and you are ready to go.

Stroke and Fill

The most basic ways to apply colors to an image are to use Fill and Stroke, both available on the
edit menu. Make a selection, and choose fill from the edit menu. A dialog will appear asking you
to make some decisions about colors and transparency.
Make your selections, and press OK to fill the selection with the chosen color. Stroke operates in
much the same manner, though you are given the chance to determine the weight of the lines
you create.

Paintbrush tool

Make a selection and choose the tool from the toolbar. You can change the size of the brush in
the options bar, as well as the behaviors of the paint. The best way to learn what these options
do (and some of it is pretty surprising) is to experiment. Remember, you have multiple undo’s and
layers so do not worry about ruining your image.

Pencil Tool

The Pencil tool works much like the Paintbrush, but draws a distinct line rather than a feathery
painted one. Click and hold the paintbrush icon to reveal the pencil.

Eraser Tool

The eraser tool works much like the Paintbrush and Pencil, but rather than fill the selected region
with a color, it actually removes whatever is in the selection and reveals the background. This is
a very useful tool for cleaning up images with rough edges.

ADOBE LIGHTROOM

# Exploring the Comprehensive Uses, Options, and Features of Adobe Lightroom

Adobe Lightroom is a powerful software tool designed specifically for photographers and image
enthusiasts. It has gained immense popularity for its ability to streamline the photo editing
process, offering a range of features that cater to both beginners and professionals. In this
detailed exploration, we will uncover the myriad uses, options, and features that make Adobe
Lightroom an essential companion in the world of digital photography.

I. Introduction to Adobe Lightroom:

Adobe Lightroom is a non-destructive photo editing software that provides a comprehensive set
of tools for organizing, editing, and sharing digital photographs. It stands out for its intuitive user
interface and seamless integration with Adobe's Creative Cloud ecosystem. Lightroom's
workflow-centric design makes it an ideal choice for photographers who want to enhance their
images efficiently.

II. Uses of Adobe Lightroom

a. Photo Organization:

One of Lightroom's primary uses is organizing vast collections of photos. The Library module
allows users to import, catalog, and organize images using keywords, flags, ratings, and other
metadata. This organizational prowess makes it easier to manage and locate specific photos,
especially when dealing with extensive photo libraries.

b. Non-Destructive Editing:

Lightroom employs a non-destructive editing approach, meaning the original image remains
untouched. Edits are stored as instructions in the catalog, and the changes can be easily reversed
or modified at any time. This feature ensures photographers can experiment with edits without
compromising the integrity of the original image.
c. Global and Local Adjustments

Lightroom offers a range of global adjustments that affect the entire image, such as exposure,
contrast, and white balance. Additionally, users can apply local adjustments using tools like the
Graduated Filter, Radial Filter, and Adjustment Brush. These tools enable precise edits to specific
areas of an image, providing fine-tuned control over the final result.

d. Color Grading and Correction:

Color correction and grading are integral to photo editing, and Lightroom excels in this aspect.
The Develop module provides tools for adjusting color temperature, tint, vibrance, and
saturation. The HSL/Color panel allows for targeted adjustments to individual colors, providing
photographers with unparalleled control over the color palette of their images.

e. Lens Correction and Perspective Adjustment:

Lightroom includes lens correction profiles for a wide range of lenses, automatically correcting
distortions such as chromatic aberration and lens vignetting. The Transform panel offers
perspective correction tools, allowing users to straighten horizons and correct perspective
distortions caused by wide-angle lenses.

f. Noise Reduction and Sharpening:

For photographers dealing with low-light conditions, Lightroom's noise reduction tools are
invaluable. Simultaneously, the sharpening tools enhance image details. The Detail panel provides
control over the balance between noise reduction and sharpening, ensuring optimal image
quality.

g. Exporting and Sharing

Lightroom facilitates easy exporting of images in various formats and resolutions. Whether
preparing images for print, web, or social media, users can create presets to streamline the
exporting process. Integration with Adobe Portfolio and other Creative Cloud services simplifies
sharing and showcasing work online.

h. Mobile Editing and Synchronization:

Lightroom extends its reach to mobile devices, allowing users to edit and organize their photos
on the go. The synchronization feature ensures that edits made on one device are reflected across
all devices seamlessly. This flexibility is particularly beneficial for photographers who need to
maintain a cohesive editing workflow across different platforms.

III. Options in Adobe Lightroom:

a. Library Module Options:

1.Import and Cataloging:

Lightroom's Library module offers options for importing images from various sources, including
cameras and memory cards. Users can choose to build previews, apply metadata on import, and
organize images into collections for efficient cataloging.

2. Keywording and Filtering:

The Library module provides robust keywording options, enabling users to tag images with
relevant keywords for easy searching. The Filter Bar allows for quick sorting and filtering based
on various criteria, such as camera settings, keywords, and flags.

3. Smart Previews:
Lightroom allows users to generate Smart Previews, which are smaller, lossy DNG files. These
previews enable users to work on images even when the original files are not accessible, such as
when working on a laptop without the external hard drive containing the full-resolution images.

b. Develop Module Options:

1. Basic Adjustments:

The Develop module houses options for basic adjustments such as exposure, contrast, highlights,
shadows, and clarity. Users can also apply white balance adjustments using preset settings or by
manually adjusting temperature and tint.

2. Presets and Profiles:

Lightroom supports the use of presets and profiles to apply a specific look or style to an image
with a single click. Users can create their presets or leverage a vast array of third-party presets to
achieve consistent and unique editing styles.

3.Graduated Filter, Radial Filter, and Adjustment Brush:

These local adjustment tools in the Develop module provide users with the ability to apply edits
selectively. The Graduated Filter is useful for adjusting the exposure in a gradient, the Radial Filter
allows for circular adjustments, and the Adjustment Brush offers precise brush-based edits.

4. Tone Curve and HSL/Color Panel:

The Tone Curve provides advanced control over tonal adjustments, allowing users to create
custom contrast curves. The HSL/Color panel offers targeted adjustments to Hue, Saturation, and
Luminance for individual colors, providing granular control over the color palette.
5. Lens Correction and Transform Panel:

In addition to automatic lens correction profiles, users can manually adjust lens corrections in
the Lens Corrections panel. The Transform panel provides tools for correcting perspective
distortions and straightening horizons.

c. Export Options:

1. File Formats and Resizing:

Lightroom offers a range of file format options for exporting images, including JPEG, TIFF, and
DNG. Users can specify the desired resolution, quality, and compression settings. Export presets
streamline the process for different purposes, such as web sharing or print.

2. Watermarking:

Photographers can add watermarks to their exported images for branding or copyright purposes.
Lightroom allows users to customize the position, size, and opacity of the watermark, ensuring a
professional and personalized touch.

3. Publish Services:

Lightroom provides built-in Publish Services for easy integration with various platforms and
services. Users can set up publish collections for direct sharing to social media platforms, Adobe
Portfolio, or Behance, streamlining the workflow for online presentation and sharing.

IV. Advanced Features in Adobe Lightroom:

a. Integration with Photoshop:

Lightroom seamlessly integrates with Adobe Photoshop, offering a dynamic duo for
photographers who require advanced retouching and compositing capabilities. Users can send
images from Lightroom to Photoshop and retain the non-destructive workflow.

b. Panorama and HDR Merge:

Lightroom includes features for merging multiple images into panoramas or high dynamic range
(HDR) composites. The Photo Merge option in the Develop module enables users to stitch
together panoramic views or create images with extended dynamic range directly within
Lightroom.

c. Facial Recognition:

The Library module incorporates facial recognition technology, allowing Lightroom to

automatically detect and tag faces in images. This feature simplifies the process of organizing and
locating photos of specific individuals within a large image library.