Photoshop and Imaging Basics for Artists 2024 - Class/Homework Thread

Photoshop1

Here you will find all of the information (appropriate links (including Dropbox folder links for homework), notes, reminders, etc.) for Anthony’s Photoshop 101 (Photoshop Basics for Artists) Any questions, comments, or concerns should be sent to aaawpsclass@gmail.com.

NOTE: Please respect the work, rights, and privacy of participating artists. You may view the uploaded homework efforts from the class within the Dropbox folder, but you may not download or manipulate their work in any way. Anya and I will be downloading uploaded homework or classwork images when needed/appropriate, but we will never share anyone’s images outside of the class without express permission from the author. All files in the Drobox folders will be deleted at the end of the course. In addition, please know that classes will not be recorded to respect each participant’s learning experience.

If there are files required for the week’s homework, then they will be available in a folder called “WeekX_Resources” in the appropriate week’s folder. You will need to download to files in this folder to complete the week’s homework. However, please be sure not to remove or add anything to this folder.

WEEK ONE:

Select fundamental concepts about digital images and related Photoshop image management. The resources folder for this week will contain one large example image file for personal homework use if you do not have a large file of your own. This will be addressed in class.

DROPBOX FOLDER LINK: Dropbox

Today we discussed several fundamental aspects of digital imaging. We covered the pixel, the dot, ppi, dpi, resolution, image size, image quality (compression), file size, megapixel, megabyte, and file formats (psd, tiff, jpeg, png, gif, raw, cr2.)

Some definitions to be discussed:

In computer graphics and digital photography, a raster graphic represents a two-dimensional picture as a rectangular matrix or grid of (likely) square pixels viewable via a computer display, paper, or other display medium. A raster is technically characterized by the width and height of the image in pixels and by the number of bits per pixel. Raster images are stored in image files.

The smiley face in the top left corner is a raster image. When enlarged, individual pixels appear as squares. Enlarging further, each pixel can be analyzed, with their colors constructed through a combination of the values for red, green, and blue.

IMG_0382

Pixel Values: As shown in this bitonal image, each pixel is assigned a tonal value, in this example 0 for black and 1 for white.

Vector graphics are computer images created using a sequence of commands or mathematical statements that place lines and shapes in a two-dimensional or three-dimensional space. In vector graphics, a graphic artist’s work, or file, is created and saved as a sequence of vector statements.

Here’s a number of common file formats:

ADDITIONS: Smartphone outputs:

Smartphone users may notice two new image outputs in their use of smartphone imagery: .HEIC and .HEIF. Just like JPEGs they are a form of lossy compression. (i.e., you may notice some compression degradation with these files.) HEIF (high-efficiency image file format) is a file format for storing digital images and image sequences. Its companion file format, HEIC (high-efficiency image coding), can encapsulate multiple copies of HEIF sequence data and other non-photographic media. HEIF and HEIC files are created by the camera applications of modern Android and iPhone devices and by professional-grade digital cameras. Often, when digital cameras send out HEIC and HEIF files, they are supposed to convert to JPEG, but sometimes they do not. If you encounter these files, they may need to be converted to JPEG to be utilized with some devices/software.

Here’s a useful infographic that communicates the basic idea of image compression:

  • MP (Megapixels)
    A pixel is the smallest addressable element of a digital picture (however, there are bits and sub-pixels we will mention briefly here.) A megapixel is 1 million pixels. A pixel is not necessarily a square, though for ease of use most photo imaging software suites will render them as such; it is more easily referenced to as a measurement of area.

The number of distinct colors that can be represented by a pixel depends on the number of bits per pixel (bpp). A 1 bpp image uses 1 bit for each pixel, so each pixel can be either on or off. Each additional bit doubles the number of colors available, so a 2 bpp image can have 4 colors, and a 3 bpp image can have 8 colors:

  • 1 bpp = 2 colors (black/white-on/off-binary)
  • 2 bpp = 4 colors
  • 3 bpp = 8 colors
  • 4 bpp = 16 colors
  • 8 bpp = 256 colors
  • 16 bpp = 65,536 colors (“Highcolor” )
  • 24 bpp = 16,777,216 colors (“Truecolor”)

But how can something like 3BPP yield 8 colors? Like this:

Color Code RGB
Black O 000
Blue B 001
Green G 010
Cyan C 011
Red R 100
Magenta M 101
Yellow Y 110
White 1 111
  • Resolution
    This is the size and number of pixels in height and width across a screen or digital image. For example, an image with a resolution of 1024 x 768 would have 786,432 pixels or 0.8 megapixels (rounded up).
  • PPI (Pixels Per Inch)
    Pixels per inch is the density of pixels over a 1-inch area. You can determine the PPI of a device by taking the resolution and dividing it by the physical width and height of the device. 300 PPI is generally the highest aimed-for density, as the human eye cannot tell the difference in image quality beyond that. Displays generally use subpixels of RGB color to generate actual pixels.

You can change the image size in a number of ways. Images can be resized or resampled. A good number of people tend to use the terms resizing and resampling as if they mean the same thing, but they don’t. There s a VERY important difference about the two. The difference between resizing and resampling has to do with whether or not you are changing the number of pixels in the image, or as Photoshop calls it, changing the pixel dimensions of the image. If you’re keeping the number of pixels in the image the same and simply changing the size at which the image will print, or in Photoshop jargon, changing the document size of the image, that’s known as resizing. If, on the other hand, you are physically changing the number of pixels in the image, that’s called resampling.

  • DPI (Dots Per Inch)
    In terms of physical printed images, dots per inch is the density of individual ink dots that a printer is able to generate. In comparative terms to PPI, you can’t really compare the two usefully in many contexts. DPI is for printed photos, and PPI is for digital displays. In terms of conversion regarding resolution, a printer can treat pixels as dots, and in such case, a higher DPI setting would result in higher quality but also in a smaller picture. Although a printer may say “Can Print up to 2400 DPI,” that doesn’t mean that you’ll actually ever print anything with that high of a density.

The measures “dots per inch” (dpi) and "pixels per inch” (PPI) are sometimes used interchangeably but have distinct meanings, especially for printer devices, where dpi is a measure of the printer’s density of dot (e.g., ink droplet) placement. For example, a high-quality photographic image may be printed with 600 ppi on a 1200 dpi inkjet printer. Even higher dpi numbers, such as the 4800 dpi quoted by printer manufacturers since 2002, do not mean much in terms of what is achievable.

Interestingly enough, there is no standard dot size or shape, so a higher DPI does not always equate to a higher-quality print. One manufacturer’s dots might look as good at 1200 DPI as another manufacturer’s dots do at 700 DPI. VERY generally speaking, books and magazines often use 150 DPI for photographic reproduction, and newspapers often use 85 DPI. If available DPI is a concern, ask the printshop or consult the printer specifications to find the appropriate DPI for your project.

We also discussed two common ppi settings relative to our focus: 72ppi and 300ppi.

In general, 300ppi at the original size is considered the minimum to reproduce the photograph well at the size of the original.”— A passage from the Federal Agencies Digital Guidelines Initiative’s Technical Guidelines for Digitizing Cultural Heritage Materials.

Keep in mind how many of these concepts are tied together. One example given today was “a 1-megapixel image (approx. 1 million pixels) taken with a DSLR camera with a 2:3 aspect ratio would be 1200x900 pixels.”

Image size via Rows, Columns, and BPP

The size of an image depends upon three things.

  • Number of rows
  • Number of columns
  • Number of bits per pixel

The formula for calculating the size is given below.

Size of an image = rows * cols * bpp

It means that if you have a grayscale image with 1024 rows and it has 1024 columns. And since it is a grayscale image, it has 256 different shades of gray, or it has 8 bits per pixel. Then, putting these values in the formula, we get

Size of an image = rows * cols * bpp

= 1024 * 1024 * 8

= 8388608 bits.

Converted to our formats discussed here:

Converting it into bytes = 8388608 / 8 = 1048576 bytes.

Converting into kilo bytes = 1048576 / 1024 = 1024kb.

Converting into Mega bytes = 1024 / 1024 = 1 Mb.

  • File Size: This is the amount of “space” that the image file takes up on a memory card or other storage media. It is often measured in megabytes (MB) (although many times kilobytes (KB).) The actual file size depends on a number of factors like image size, resolution, bit depth, and level of compression.

HOMEWORK: Due in Dropbox by Oct. 3rd. If you are not well versed in using Dropbox, you may choose to submit your homework via email at: aaawpsclass@gmail.com.

Scenario (please read carefully!!!): A popular gallery contacts you for a “high-res jpeg” image of one of your artworks for use in an upcoming feature in a magazine. In addition, they would like to add the image to their website. Their IT person is pretty busy at the moment and asked if you could make a second image ready for website upload. They request “a smaller version with a height ranging anywhere from 700 to 1000px.”

Please put the two files you would send to the gallery in this week’s Dropbox folder or email them to aaawpsclass@gmail.com. Each “correct” file submitted in time will be worth 1 point. Also be sure to use the following filename format for your submitted files:

Filename Format: First Name-Last Name_Title_size_Medium_LARGE/SMALL or PPI

for example: Anthony-Waichulis_Ideation_24x24inches_Oil_LARGE

DROPBOX LINK: Dropbox

Here you will find all of the information (appropriate links (including Dropbox folder links for homework), notes, reminders, etc.) for Photoshop 101 (Photoshop Basics for Artists) Week Two.

HOMEWORK RESULTS FROM WEEK 1 (total 2 points):

  • CH: 1
  • CY: 1
  • DD: 1
  • JJ: 2
  • JH: 2
  • JC: 2
  • ON: 2
  • RW: 2
  • TG: 1
  • TW: 2

NOTE: Please respect the work, rights, and privacy of participating artists. You may view the uploaded homework efforts from the class within the Dropbox folder, but you may not download or manipulate their work in any way. Anya and I will be downloading uploaded homework or classwork images when needed/appropriate, but we will never share anyone’s images outside of the class without express permission from the author. All files in the Dropbox folders will be deleted at the end of the course. In addition, please know that classes will not be recorded to respect each participant’s learning experience.

If there are files required for the week’s homework, then they will be available in a folder called “WeekX_Resources” in the appropriate week’s folder. You will need to download to files in this folder to complete the week’s homework. However, please be sure not to remove or add anything to this folder.

Again, as to file naming: Moving forward, images should have the following format (where fields are appropriate):

Name_Title_Size-in-inches (height first)_Medium (if applicable)_Price (if applicable)_SMALL/MED/LARGE-or-PPI

Today we will review the homework and some info from the last class, cover a relatively new file format WebP, file naming, goals and controls (e.g., Save As/Export), the Helmholtz–Kohlrausch effect, Color Modes (RGB, CMYK, and Grayscale,) Image Resampling, and Color Bit Depth (8, 16, and 24 bit.)

Each color on top has approximately the same luminance level and yet they do not appear equally bright or dark. The yellow (second from the left) appears to be much darker than the magenta (right-most). However, when the top image is converted to grayscale, we have the image on the bottom–a single shade of gray.

Some definitions for today:

  • Image Size Resample
    This is an option in the image sizing window that, when checked, allows the changing of the actual number of pixels in the image.
  • Color Mode
    Color modes or image modes are the basis for the representation of a pixel’s color value. These modes determine how an image will be represented on screen or in print. For instance, use CMYK color mode for images in a full-color print brochure, and use RGB color mode for images in web or e-mail to reduce file size while maintaining color integrity.

Different color modes:

1. RGB mode ((Red-Green-Blue) This is a universal mode that your desktop and camera use. RGB stands for Red, Green, and Blue, so it manages colors via configurations/combinations of red, green, and blue. This mode has the largest gamut of the modes we discussed.
2. CMYK mode ((Cyan-Magenta-Yellow-Black) The next most common mode. This mode manages color in a way that is conducive to common printing processes. This mode has a smaller gamut than RGB as print media may not be able to “hit” all the colors that your computer displays can.
Fun Fact: The K in CMYK is known as the Key, because it’s the key plate that prints all the detail in a printed image. In printing, Cyan, Magenta, and Yellow plates are properly aligned with the Key plate.
3. Grayscale mode This is the most basic mode, consisting of a single channel that maps values to grays, from black to white.

WHEN CHANGING MODES:

You can change an image from its original mode (source mode) to a different mode (target mode) by going to IMAGE>MODE. Keep in mind that when you choose a different color mode for an image, you permanently change the color values in the image. For example, when you convert an RGB image to CMYK mode, RGB color values outside the CMYK gamut are adjusted to fall within the gamut. As a result, some image data may be lost and can’t be recovered if you convert the image from CMYK back to RGB.

TIP: Before converting images, it’s best to do the following:

• Do as much editing as possible in the original image mode.
• Save a backup copy before converting. Be sure to save a copy of your image that includes all layers so that you can edit the original version of the image after the conversion.
• Flatten the file before converting it, as the interaction of colors between layer blending modes changes when the mode changes. (We will get to this next week!)

  • Color Bit Depth
    Bit depth quantifies how many unique colors are available in an image’s color palette in terms of the number of 0’s and 1’s, or “bits,” which are used to specify each color. This does not mean that the image necessarily uses all of these colors but that it can instead specify colors with that level of precision. For a grayscale image, the bit depth quantifies how many unique values are available. Images with higher bit depths can encode more shades or colors since there are more combinations of 0’s and 1’s available.

Every color pixel in a digital image is created through some combination of the three primary colors: red, green, and blue. Each primary color is often referred to as a “color channel” and can have any range of intensity values specified by its bit depth. The bit depth for each primary color is termed the “bits per channel.” The “bits per pixel” (bpp) refers to the sum of the bits in all three color channels and represents the total colors available at each pixel. Confusion arises frequently with color images because it may be unclear whether a posted number refers to the bits per pixel or bits per channel. Using “bpp” as a suffix helps distinguish these two terms.

image

Most color images from digital cameras have 8 bits per channel, so they can use a total of eight 0’s and 1’s. This allows for 2^8 or 256 different combinations—translating into 256 different intensity values for each primary color. When all three primary colors are combined at each pixel, this allows for as many as 256^3 or 16,777,216 different colors, or “true color.” This is referred to as 24 bits per pixel since each pixel is composed of three 8-bit color channels. The number of colors available for any X-bit image is just 2^X if X refers to the bits per pixel and 2^X*3 if X refers to the bits per channel.

TIP: The available bit depth settings depend on the file type. Standard JPEG and TIFF files can only use 8-bits and 16-bits per channel, respectively.

HOMEWORK: Due in Dropbox by Wednesday, Oct. 9th

Homework: Locate a “high-res” color version of a favorite masterwork online and save it to your desktop. Using that file, generate two grayscale versions—one should be an “unweighted” desaturation and the other, a curated, weighted version that you feel best compensates for the loss of hue and chroma (saturation) contributions. Upload both to the homework folder as “high quality” jpegs in the ballpark of 200ppi@5x7". This is worth 4 points!!!

Bonus Scenario: You have been invited to participate in an upcoming book that explores how artists might reinterpret the value structure of their own color paintings, drawings, or photographs if they were limited to grayscale. The publishers request two images of a single work, one with a simple unweighted desaturation and one with an artist-curated, weighted desaturation. Both files should be print-ready, high-res (300ppi@8x10"), but small enough to be sent via email. Please upload the two files you would send, formatted and appropriately labeled to this week’s homework folder. This bonus is with 2 points!!!

DROPBOX LINK: Dropbox

Great question once put forward: Philippe asked, “Does it really make any difference if you save something at 5x7 inches @72ppi or 1.68 x 1.207 300ppi as they would seem to be the same?

In most cases, these files could be considered synonymous (if the pixels are exactly the same) in that if you open the two images on screen, you will see absolutely no difference between them. However, there is a difference if you try to drag and drop them into a word processor.

For example, here are two copies of my painting Paradise. One is saved at 5x7" @ 72ppi, while the other is 1.68x1.207" @ 300ppi. Either way, the pixel dimensions on both are 362x504. They are so alike that even this program discourse kept displaying the same image.

This is how they appear, though, when dragged into a Word doc:

As you can see, one becomes much smaller than the other. The issue is how some software treats the measurements. (Page-setting software like InDesign does the same thing.) In both cases, the target environment measures things in real-world units (centimeters or inches), so it uses the dpi metadata to decide how to convert your image’s pixel dimensions to real-world dimensions. For example, a 600x600-pixel image at 300 dpi will appear on the page at 2x2 inches.

By contrast, most screen-based environments (Photoshop, the web, etc.) measure things in pixels, so no conversion is needed: each pixel in your image simply occupies one pixel of your screen.

So, if you’re preparing an image for print on paper or other physical media and you’re asked for a specific dpi (which will usually be 300), you should stick to it to ease the workflow at the print end. (Of course, a page designer can always convert your 72dpi image to 300dpi without losing anything, but why make things difficult?) Note that this only ever applies if your image is going to be placed on a page (for example, in a magazine or book), which is why it so rarely makes a difference. If you’re just printing photos full-page (either on your own printer or sending them off for photographic prints), the dpi will make no difference.


Herb asked, “Is RGB in Photoshop the same or equivalent to sRGB.?”

Honestly at first I thought it would likely be the same thing but it turns out that Adobe has their own RGB mode which is simply called Adobe RGB.

While both Adobe RGB and sRGB have advantages and drawbacks, it seems Adobe RGB provides more flexibility in switching profiles thanks to a wider range of colors. The photograph taken in Adobe RGB mode can be converted to sRGB. By contrast, because they utilize a simpler color space, sRGB photographs cannot be converted to Adobe RGB.

You can learn more about the differences here:


Some software mentions: