Pixiq

Where to Start: A Sense of Destination

Last week’s post (Realize Your Vision) outlined the importance of a structured workflow in Fine Art Image Optimization. I illustrated the concept of a well-designed Layer Stack to introduce the idea of image optimization being a process of refinement.  However, prior to embarking on actual image adjustments, it is important to know where you’re headed. I’ve noticed that once an image is on the screen, many photographers feel compelled to immediately start making adjustments both Regional and Global without any clear idea of their final “vision." In the traditional darkroom, a proof sheet was usually generated and then several test strips were made to determine proper exposure before even attempting the first full-size proof. The process itself afforded ample time for the photographer to determine a “sense of destination” for the final expression. This determination is not a rigid, inflexible decision. Its purpose is to give you something to work toward. Every step you take holds the possibility of altering where one ultimately arrives. The immediacy of the digital darkroom process demands that this visual analysis of your image takes place prior to making any image adjustments. LOOK at your image onscreen. Spend some time with it

— with your hands OFF your mouse or track pad!

One aspect I personally consider carefully is dimensionality. Remember — photographic printmaking is about trying to replicate a three-dimensional scene with a two-dimensional process. There are many visual tricks you can employ to bolster the dimensionality of your image, and I will cover many of those in a later posting. None of them, however, can be used if you are unable to “see” the problem in the first place.

A very common comment from participants in my workshops is “I see what you did and how you did it, but I don’t understand how you knew to do that.” Well… my secret is — I spent time looking at and analyzing my image.

Dimensionality is not the only consideration. The chart included in the Image Gallery, The Elements of Imaging, was created by John Paul Caponigro and myself to outline some of the image attributes that we look for when we initially analyze an image to determine a “sense of destination.” The time spent examining your image will allow you to optimize your image in a more purposeful and efficient manner.

The same categories and sequence I outlined in A Well-Organized Layer Stack in last week's posting are helpful considerations when analyzing your image. 

• FOUNDATIONAL: Look for large problems first (excessive noise, shadow, highlight clipping, orientation, distracting artifacts, distracting image elements)

• GLOBAL: Look for global Luminosity, Hue, or Saturation issues that adversely affect the entire image.

• REGIONAL: Look for Luminosity, Hue, or Saturation issues that are restricted to specific areas of your image.

With CS5’s 64 bit capability and the availability of cheaper RAM, Smart Objects and Smart Filters become more attractive. Whether or not to use Smart Objects/Filters is a personal decision largely dependent upon your processor and the amount of RAM you have installed. I work on a lot of very large images and find that the Smart Object/Filter route creates untenable memory overhead and can slow the optimization process down to a slow grind. I find that because of CS5’s ability to more precisely target most adjustments, I still prefer to perform everything except the Global Luminosity, Noise Reduction, Shadow/Highlight and Chromatic Aberration adjustment in Photoshop - the “heavy lifting” in your RAW processor and the final “polish” (Global HS, Regional LHS, final sharpening) in Photoshop. I do look forward to the day when it all can be performed in the RAW processor. I personally find the non-destructive workflow, the printing module and the general intuitive interface of Lightroom to be a superior working environment.

The first move I usually make is to create a Non-Destructive Crop. This serves a couple of purposes. First of all, it helps one to more closely visualize the final image, which can impact optimization decisions. Secondly, it sets soft “limits” that may exclude areas that don’t need to be considered in clean up or Regional Adjustments. The Non-Destructive Crop has definite advantages over other cropping methods. For instance in PS you can’t Hide a cropped area if your image is only composed of a Background Layer. For me, the greatest advantage is that it is easily accessible throughout the optimization process should I need to refine the results. (The Non-Destructive Crop is available as an Action from the Workshop Files->RMH Actions at www.RMacHolbert.com) For those interested the steps for creating a Non-Destructive Crop are outlined below.

1.     Select->All

2.    Select->Transform Selection

3.     Click on Constrain Proportions (see diagram below) and change W: to 75%. This will cause your onscreen selection to contract. Select Confirm Transform (see diagram below) to create your final onscreen selection.

4.     Create a new Solid Color Adjustment Layer (first in list) from the Adjustment Layer icon at the bottom of your Layers Palette and change the layer color to a solid black. Select OK to create the Solid Color Adjustment Layer with an attached Layer Mask.

5.     With the Layer Mask highlighted select Image->Adjustments->Invert to invert the mask.

6.     You should now see your image with a thick black border around it. You can reposition the mask by selecting it and moving it with the Move Tool.

7.      If you wish to alter the aspect ratio of the crop, highlight the mask and select Edit->Free Transform (Ctrl-T). Move the corners or sides by grabbing with the cursor and dragging. When you have finished altering the crop select Confirm Transform (see diagram below) to create your new crop.

8.     You can also adjust the opacity of the Non-Destructive Crop Layer to allow as little or as much information through as you prefer from the layers below.

9.     Label the layer “Crop” and confirm that it lies directly above ALL layers in your layer stack,

Keep the non-destructive crop at the very top of your layer stack throughout the optimization process. To alter your indicated crop return to Step 6-7. When you have finished optimizing your image save the file with all layers and adjustment layers intact. To print with your indicated crop hold down your Command (Control – PC) and select the mask on the non-destructive crop layer. This will load the mask as a selection. Next you need to Inverse the selection using the Select-> Inverse command. Now select Image->Crop. Your image should now be cropped and ready to print. IT IS IMPORTANT THAT AFTER PRINTING YOU EITHER SAVE THE FILE UNDER A NEW NAME OR JUST CLOSE THE IMAGE WITHOUT SAVING. This way your original final optimized file will still retain your non-destructive crop for possible alteration in the future.

Once the image analysis and the placing of the Non-Destructive Crop are complete and a “Sense of Destination” is established we can begin the active optimization process.

Next Week: Let’s Get This Show on the Road!