There is no way to get around the fact that the quality of your final digital pictures is dependent on how well they were captured initially. Poorly photographed or badly scanned images take their problems with them throughout the whole production process and end up as poor quality prints. One of the best ways to increase the level of your work is to ensure that you have the skills and knowledge necessary to create the best digital file possible at the time of capture. This is true for the majority of you who now shoot with a digital camera as well as those who are converting existing photographic images to digital with a scanner.
To help gain this level of control let’s go back to the basics and see how factors like resolution and numbers of colours affect the quality of image capture.
Most of us, no matter how new to digital photography, are aware that resolution has a direct link with picture quality. It is true that this factor, along with the numbers of colors (bit depth) saved in the file, or captured by the camera, helps determine the overall quality of the image.
The rule of thumb that most new users adhere to goes something like this – ‘the higher the resolution and the greater the bit depth the better the image will be’ – and to a large extent this is true. High-resolution images with lots of colors are generally better quality than those with a limited color range and fewer pixels, but to understand how integral resolution is to making great digital images we must look a little deeper.
Digital photography basics >> All digital photographs are constructed of a grid of colored pixels which when seen at a distance combine to form the appearance of a continuous color and tone picture.
Image Capture – Input Resolution
Computers can only work with digital files. The world as we view it, and as we capture it in silver-based photographs, is not in a digital format. Tones and colors merge gradually from one extreme to another. For the computer to be able to work with such images they must be changed from this ‘analog’ or continuous tone format to a digital one. Scanners and digital cameras make this change as part of the capturing process.
The scene or print is tested, or sampled, at regular intervals and a specific color and brightness allocated for each sample area. The testing continues in a grid pattern all over the scene, gradually building a pattern of the image which is made up of discrete areas of specific color/brightness. Each of these areas, or samples, becomes a pixel in the resultant digital file.
Resolution at this capturing stage refers to the frequency that samples are made of the image. Generally this measurement is represented as the number of samples taken in a one inch space; for this reason it is sometimes called Samples Per Inch or spi. Unfortunately most scanner software does not use this terminology but prefers to refer to this setting as ‘Dots Per Inch’ (dpi). This is a hangover from language used in the printing industry and does more to confuse than clarify the situation.
If you are using a digital camera to capture your image then the resolution will be determined by the sensor, which has a specific number of CCDs set into a grid that is used to digitize the image. Scanner users, on the other hand, are able to control the sampling rate by changing the settings in the scanner’s dialog box.
A high sampling rate will result in a higher quality image with a much greater file size. A low SPI will provide a smaller file of less quality. These facts lead a lot of new users to a situation where all images are scanned at the highest resolution possible. Do this and your hard drive will soon be completely used up. High-resolution scans require huge amounts of storage space.
Input resolution >> High input resolution (a) will produce an image with finer detail than a picture with low resolution (b)
Input resolutions should be decided on the basis of what the image’s final use will be. If the image is to be printed the size of a postage stamp then there is no point scanning at a resolution that will result in a file large enough to print an A2 poster. Remember the end usage determines the scanning resolution, or to put it in a way more easily remembered, ‘Know where you are going before you start the journey’.
2.01 How Many Pixels Do I Need?
Suitable for Elements – 5.0, 4.0, 3.0, 2.0, 1.0 | Difficulty level – Intermediate Related techniques – 2.02, 2.12, 2.13, 13.07
The trick to knowing how many pixels you require is to think carefully about the end product you want to create. As an example, if you want to produce a 10 × 8 inch photographic quality print and you know that the lab you will use to output the image suggests a resolution of 250 dpi, then you have all the information to determine the number of pixels you will need to capture. Essentially the lab is saying that to produce photographic quality they need 250 pixels for every inch of the print. For the photograph to be 10 inches high then your file must contain a minimum of 2500 pixels for this dimension and to ensure the 8 inch width, you will need 2000 pixels. With this knowledge you can adjust the settings on you scanner so that you will end up with a picture file that contains the minimum pixel dimensions of 2500 × 2000.
For digital camera shooters understanding this concept will not only give you an indication of the maximum print size available from your camera’s sensor, but will also allow you to accurately select the correct resolution, or more precisely the correct pixel dimension, setting on your camera for specific tasks. The table below will give you a good starting point.
The suggested output resolution changes for different end uses. For you to accurately capture enough pixels for the end result you desire, you will need to be aware of the resolution requirements for different end products. The table to the left indicates some of the resolution requirements for different uses.
Spreading the pixels >> In the example, the digital file has dimensions of 800 × 1200 pixels. Though the number of pixels remains the same, each of the prints ranges in size because of the numbers of pixels used to print each inch.
16 × 24 inch printed at 50 pixels per inch (ppi).
8 × 12 inch printed at 100 ppi.
4 × 6 inch printed at 200 ppi.
2 × 3 inch printed at 400 ppi.
Pro’s Tips:
Know where you are going before you start the journey – your scanner resolution should be based on the end use of the digital file. A poster will need a higher resolution initial scan, and a bigger file, than a postcard.
Balance print quality with practical file sizes – test your printer to see at what image resolution increases in print quality cease to be perceived. Make this your base image resolution and scan your files according to this setting.
Once you know the image resolution needed for the printer, the final size of the print and the size of your original you can easily calculate the scanning resolution and the total pixel dimensions you need for your digital file. Use the formula in the table below to give yourself an indication of the number of pixels you need for any size print job.
This growing understanding of how important resolution is to high quality imaging underpins the continual push by digital consumers for higher pixel output from their cameras. In the last couple of years sensor sizes have pole-vaulted from the diminutive 1.5 megapixels to the more commonplace 8.0 and even 10.0 megapixel models that now fill the shelves of many photographic suppliers. The power to create truly photographic quality output up to A3 size is well within our grasp.
But high resolution is only half the ‘image quality’ story. The number of colors in an image is also a factor that contributes to the overall quality of the photograph.
Discrete Colors (Or Levels)
Photographs in either print or negative (or slide) form contain a range of subtle tones and colors that blend smoothly into each other. These are referred to as ‘continuous tone images’. For instance, in a traditional black and white print it is difficult to see where one shade of gray starts and another one finishes. The effect is a smooth transition from the deepest shadows through to the most delicate highlights.
Analog to digital >> In the capture process, via digital camera or scanner, a continuous tone original or scene is converted into discrete colors that can be represented by a series of numbers. (a) Analog original containing continuous tones. (b) Digital version containing discrete colors.
In contrast, a digital image is made up of discrete tones and colors. When a scene or a print is captured by a device such as a camera or scanner the continuous original is converted into a digital file. The file describes the image as a series of numbers representing these discrete colors and tones. When we scan a negative or slide, or photograph a scene, we make this conversion by sampling the picture at regular intervals. At each sample point, a specific color is chosen to represent the hue found in the original. In this way, a grid of colors is put together to form a digital version of the continuous tone original.
8-bit versus 16-bit >> Digital photographs captured in 16-bit per channel mode contain a greater number of colors than those captured with 8 bits.
Comparing Bits
Each digital file you create (capture or scan) is capable of representing a specific number of colors. This capability, usually referred to as the ‘mode’ or ‘color depth’ of the picture, is expressed in terms of the number of ‘bits’. Most images these days are created in 24-bit mode. This means that each of the three color channels (red, green and blue) is capable of displaying 256 levels of color (or 8 bits) each. When the three channels are combined, a 24-bit image (8 + 8 + 8) can contain a staggering 16.7 million discrete tones/hues.
This is a vast amount of colors and would be seemingly more than we could ever need, see, or print, but many modern cameras and scanners are now capable of capturing 16 bits per channel or ‘high-bit’ capture. This means that each of the three colors can have 65,536 different levels and the image itself a whooping 281,474,976 million colors (last time I counted!). But why would we need to capture so many colors?
12-Bit Capture
Many cameras capture 12 rather than 16 bits per channel. These files contain 4096 tones per channel. as opposed to the 65,536 possible with 16-bit capture. Generally these 12-bit files are captured as raw files and when converted with the Adobe Camera Raw feature, you can choose between producing a 16- or 8-bit converted file.
2.02 More Colors Equal Better Quality
Suitable for Elements – 5.0, 4.0, 3.0, 2.0, 1.0 | Difficulty level – Intermediate Related techniques – 2.13
Most readers would already have a vague feeling that a high-bit file is ‘better’ than a low-bit alternative, but understanding why is critical for ensuring the best quality in your own work. The main advantage is that capturing images in high-bit mode provides a larger number of colors for your camera or scanner to construct your image with. This in turn leads to better color and tone in the digiital version of the continuous tone original or scene.
‘Fantastic!’ you say, ‘No more 8-bit capture for me, I’m a 16-bit fanatic from here on in’. But there is a catch (you knew there had to be).
Despite the power and sophistication of Photoshop Elements the program only contains a limited range of editing options when it comes to 16-bits per channel files. Along with Raw file conversion, 16-bit support commenced in version 3.0 of the program. Previously when opening a 16-bit picture the program displayed a dialog warning that it didn’t support the high-bit mode and then asked if you wanted to change the picture to an 8-bit form.
In these recent versions of the program the Rectangular and Elliptical Marquee and Lasso, Eyedropper, Move and Zoom tools all function in 16-bit mode. In addition, you can rotate, resize, apply auto levels, auto contrast or auto color correct, or use more manual controls such as Levels, Shadow/Highlights and Brightness/Contrast features. The Sharpen, Noise, Blur and Adjustment filter groups also work here as well.
Does this mean that making enhancement changes in 16-bit mode is unworkable? No, you just need to use a different approach. Read on.
Capture commandment >> If you want the best quality pictures always make sure that your scanner or camera captures in 16-bit per channel or 48-bit mode.
On most cameras this is referred to as the ‘Tiff’ or ‘Raw’ setting. See technique 2.10 for more details on Raw files.
Global Versus Local Enhancement
Because of the limitations when working with a 16-bits per channel file in Elements some digital photographers break their enhancement tasks into two different sections – global and local.
Global, or those changes that are applied at the beginning of the process to the whole picture. These include general brightness and contrast changes, some color correction and the application of a little sharpening.
Local changes are those that are more specific and are sometimes only applied to certain sections of the picture. They may include dodging and burning in, removal of unwanted dust and scratches, the addition of some text and the application of special effects filters.
This separation of enhancement tasks fits neatly with the way that the 16-bit support works in Photoshop Elements. Global changes can be applied to the photograph whilst it is still in 16-bit mode; the file can then be converted to 8 bits per channel (Image > Mode > 8 Bits/channel) and the local alterations applied. This is the process that the professionals have been using for years and now Elements gives you the power to follow suit.
The Advantages of 16-Bit or High-Bit Capture
Here are the main advantages in a nutshell:
Capturing images in high-bit mode provides a larger number of colors for your camera or scanner to construct your image with. This in turn leads to better color and tone in the digital version of the continuous tone original or scene.
Global editing and enhancement changes made to a high-bit file will always yield a better quality result than when the same changes are applied to a low-bit image.
Major enhancement of the shadow and highlight areas in a high-bit image is less likely to produce posterized tones than if the same actions were applied to a low-bit version.
More gradual changes and subtle variations are possible when adjusting the tones of a high-bit photograph using tools like Levels than is possible with low-bit images.
Common High-Bit Misconceptions
Elements can’t handle high-bit images. Not true. Previous versions of the program couldn’t handle high-bit pictures, but since Elements 3.0 the program has contained a reduced feature set that can be used with 16-bits per channel images. And even with this limitation there are enough tools available to ensure quality enhancement of your images.
High-bit images are too big for me to handle and store. Yes, high-bit images are twice the file size of 8-bit images and this does slow down machines with limited resources, but if this is a concern put up with the inconvenience of a slow machine whilst you make tonal and color changes then convert to a speedier 8-bit file for local changes.
I can’t use my favorite tools and features in high-bit mode so I don’t use high-bit images at all. You are loosing quality in your images needlessly. Perform your global edits in 16-bit mode and then convert to 8-bit mode for the application of your favorite low-bit techniques.
Ensure Quality Capture and Enhancement with 16-Bit and Raw Files
- Unless space is an issue capture all images in the highest color depth possible. This will help to ensure the best possible detail, tone and color in your pictures.
- If you have a camera that can capture Raw files then ensure that this feature is activated as well, as it provides the best quality files to work with.
With the basics out of the way let’s now look at how to manipulate some of your camera’s technology in order to create the best digital files possible.
Exposure
Good exposure is one of the cornerstones of great imaging. Whether it be traditional silver-based photography, or the new pixel-centered picture making, getting your exposure right will ensure that you capture the most information possible.
Photographs that result from the sensor receiving too much light are said to be ‘overexposed’. They typically have little or no details in the highlight portions of the image and the mid tone regions are far too bright. In contrast, pictures that have been captured with too little light are referred to as being ‘underexposed’. In these images it is the shadow areas that lose details and in this scenario the mid tones are too dark.
The perfect exposure will produce a picture that contains:
A good spread of tones from light to dark,
Details in the shadow areas, and
Details in the highlight areas.
For most shooters, exposure is something that the camera does automatically. You frame the image in the viewfinder, or via the preview screen, push the button down halfway and the camera focuses and adjusts the exposure for the scene. Push the button down fully and the image is captured using the exposure settings selected by the camera.
Generally speaking, letting the camera do the work produces great results, but in some circumstances where the lighting is a little tricky, the ‘auto’ exposure route can result in images that are either ‘under’ or ‘over’ exposed. It’s here that the photographer needs to ‘step in’ and make some adjustments to the exposure settings. Modern cameras have a range of features designed to override the camera’s auto exposure settings.
Over- and underexposure >> The cornerstone of all good photography is accurate exposure. (a) Overexposed images are too light and lose details in the highlights and mid tone areas. (b) Well-exposed pictures have a good distribution of tones over a range from dark to light. (c) Underexposed images have little or no shadow detail as these areas are converted to pure black.
Exposure Control
Two devices – the shutter and the aperture – control the amount of light that hits your camera’s sensor.
The shutter is either an electrical or mechanical device that controls the length of time that the light falls upon the sensor. The longer the shutter is ‘open’ the more exposure the sensor will receive and, conversely, the shorter the shutter speed the less exposure is received. Shutter speeds have traditionally been measured in fractions of a second and are represented by a number sequence of halves and doubles. With some cameras, one step either way in the sequence is referred to as a change of a ‘full stop’, other modes step in 1/2 or 1/3 stops, and so multiple steps will be needed to make a full stop change in exposure.
The aperture works in a similar way to the iris in your eyes. The amount of light hitting the sensor, or entering your eye, is controlled by the size of the aperture, or iris, hole. Using a large hole will transmit more light than when a small aperture is in place. Again a series of numbers represent a doubling or halving of the amount of light entering through a given aperture.
This sequence is called F-stops and causes some confusion with new camera users as the scale equates the biggest aperture hole with the smallest F-stop number.
By varying the combination of aperture and shutter speed the camera, or photographer, can adjust the amount of light entering the camera to suit the sensitivity of the sensor. In bright conditions it is normal to use a fast shutter speed coupled with a large aperture number (small hole). Conversely, in low light situations a slow shutter speed and small aperture number (large hole) would be selected.
Mechanics of exposure >> Aperture and shutter in combination control the amount of light that hits the sensor.
The aperture opens to allow more light into the camera and closes to reduce exposure.
The length of time the shutter is opened is displayed in fractions of a second.
In addition to these mechanisms controlling exposure they also change the way that the photo looks. The aperture also controls the depth of field or zone of focus in the photo and the shutter manipulates how motion or movement is recorded.
Suitable for Elements – 5.0, 4.0, 3.0, 2.0, 1.0 | Difficulty level – Intermediate Related techniques – 2.02
One of the real advantages of photographing digitally is the ability to review your efforts immediately after shooting via the built-in screen on the back of the camera. With this tool it is easy to determine the times when the auto exposure system is producing images that are not quite the perfect exposure. When this occurs you can increase or decrease the amount of light reaching the sensor by using the Exposure Compensation feature.
This control effectively changes the shutter speed or aperture selected in steps of a third of an F-stop (sometimes also called EV – exposure value). Most cameras allow changes of up to plus, or minus, 3 stops. In tricky lighting scenarios I generally shoot a test image, review the results, adjust my exposure compensation settings and shoot again. I continue this process of shooting and reviewing until I am satisfied with the exposure.
A more precise way to determine over- or underexposure is to consult the histogram display of your camera. The histogram can be accessed from your camera’s playback menu and it visually graphs the spread of the pixels in the image. This feature takes the guesswork out of determining whether your image has exposure problems.
A bunching of pixels to the left-hand end of the graph usually indicates underexposure and the need for more light, whereas a grouping to the right signals overexposure and requires a reduction in either the aperture or shutter speed setting.
Exposure compensation >> Many digital cameras contain a special feature that can be used to modify your exposure settings without altering the aperture or shutter speed values directly. This Exposure Compensation control allows you to increase or decrease the overall exposure of the picture.
Apart from the absence of film, the typical digital camera has many familiar features. Experienced shooters on the whole have no difficulty understanding technology such as the shutter, aperture, or ISO sensitivity as these options have their traditional counterparts, but most new digital cameras contain several often overlooked functions that are designed to help you produce the ‘ultimate images – shot by shot’.
Some of these features include:
Contrast control,
Saturation adjustment, and
In-built Sharpness control.
These controls are now found on all but the most basic entry-level models and provide a level of flexibility that was never possible in the days when ‘film was king’.
Suitable for Elements – 5.0, 4.0, 3.0, 2.0, 1.0 | Difficulty level – Basic
The contrast control is one of the most useful features for the digital camera owner. When you are faced with shooting a beach, or snow scene, on a sunny day the range of brightness between the lightest and darkest areas can be extremely wide. Set to normal your camera’s sensor will probably lose detail in both the highlight and shadow areas of the scene. Delicate tones will either be converted to white or black. Changing the setting to ‘less contrast’ will increase your camera’s ability to capture the extremes of the scene and preserve otherwise lost light and dark details.
In the opposite scenario, sometimes your subject will not contain enough difference between shadows and highlights. This situation results in a low contrast or ‘flat’ image. Typically, pictures made on an overcast winter’s day will fall into this category. Altering the camera’s setting to ‘more contrast’ will spread the tonal values of the scene over the whole range of the sensor so that the resultant picture will contain acceptable contrast.
In-camera contrast adjustment >> Altering the way that your camera records the contrast or the extremes of brightness in a scene can help to ensure that you capture important highlight and shadow details.
Less contrast setting.
Normal contrast setting.
More contrast setting.
‘How do I know if my scene has either too much or too little contrast?’ The beauty of shooting digitally is that we can preview our image immediately. In particular check the shadow and highlight areas using the camera’s histogram feature. If the display contains pixels bunched at either end of the graph then the picture is too contrasty and will warrant a contrast change and a re-shoot. Pixels concentrated in a group in the center of the graph indicate an image that is too flat and needs to be re-shot using a higher contrast setting.
Pro’s Tip: Contrast correction that is applied via your favorite image editing software package is possible and often used, but it is always preferable to capture the image with the best contrast at the time of shooting. This will guarantee you are making images of the best quality.
Histograms >> Mid to high range cameras usually contain a Histogram function which displays the spread of the tones in the image. This feature is very useful for determining if a picture is exposed correctly or contains too much or too little contrast. (a) Shadow tones. (b) Middle tones. (c) Highlight tones. (d) High contrast picture. (e) Low contrast picture.
Suitable for Elements – 5.0, 4.0, 3.0, 2.0, 1.0 Difficulty level – Basic
The saturation, or vividness, of color within your images can either make or break them. Sometimes color is the cornerstone of a picture, providing both the focal point and the design for the whole photograph. In these circumstances, desaturated or pastel hues will only serve to weaken the strength of the picture. In contrast, strong color elements can distract from important subject matter, causing the viewer to concentrate on the color rather than the subject of the picture.
Digital shooters can take more control of the color content of their images by selecting just how dominant or vivid the hues will be in their pictures. For shots that rely on their color the vividness can be increased; for those that work more effectively with subdued hues, the color strength can be reduced by way of the camera’s saturation control.
Again, the effectiveness or suitability of each setting should be previewed and if necessary, several images with different color settings can be captured and the final choice made later. Though not as critical for retention of details as the contrast settings, it is important to capture as much color information as possible when shooting. This does not mean that you shoot all subjects with maximum saturation; it is just a reminder that if color is important, consider changing the saturation settings to suit your needs and your picture.
Pro’s Tip: Always shoot in Color mode even if the photograph is to be used as a black and white. The picture can easily be converted to black and white in your image editing program at any time and you have the advantage of a color version if ever you need it.
In-camera saturation adjustment >> Using the saturation control in your camera you can alter the strength of the colors in your pictures. (a) Black and white. (b) Minimum saturation setting. (c) Normal saturation setting. (d) Maximum saturation setting.
Suitable for Elements – 5.0, 4.0, 3.0, 2.0, 1.0 | Difficulty level – Basic
The digital equivalent of film is a grid of sensors situated behind the lens in your camera. Each of these sensors records the light and color of the image that is focused upon it. In doing so a digital version of the scene is constructed. Despite the high resolution of modern sensors and specially developed lenses, the final image contains a degree of softness that is the direct result of this capturing process.
To help create crisper images the camera manufacturers include in-camera sharpening as one of their auto enhancement tools. Designed to improve the appearance of sharpness across the picture these features enhance the edge of objects by increasing the difference in tones between adjacent pixels. Sound confusing? Just remember that the act of sharpening changes the pixels in your image and just like the other image enhancement tools, too much sharpening can destroy you picture.
How do I know what settings to use? There are two schools of thought for deciding when and where to apply sharpening to your images. Some shooters apply a little sharpening in-camera, using either the minimum or auto setting. Others prefer to leave their images untouched and will use the sharpening tools built into their favorite image editing program to enhance their pictures. I lean towards the second option, as it offers me the greatest control over the sharpening effects and where they occur in my photographs.
In-camera sharpness adjustment >> Some photographers regularly apply in-camera sharpening to their pictures, but I prefer to leave this task until the images are loaded into Elements where I have more control. (a) No sharpening applied. (b) Normal sharpening setting. (c) Maximum sharpening setting.
Pro’s Tip: When sharpening in your editing program always view the image to be sharpened at 100% so that you can see the effects of the filter at the magnification that the picture will be used at.
Suitable for Elements – 5.0, 4.0, 3.0, 2.0, 1.0 | Difficulty level – Basic
Our eyes are extremely complex and sophisticated imaging devices. Without us even being aware they adjust automatically to changes in light color and level. For instance, when we view a piece of white paper outside on a cloudy day, indoors under a household bulb or at work with fluorescent lights, the paper appears white. Without realizing it our eyes have adapted to each different light source.
Unfortunately digital sensors, including those in our cameras, are not as clever. If I photographed the piece of paper under the same lighting conditions, the pictures would all display a different color cast. Under fluorescent lights the paper would appear green, lit by the household bulb (incandescent) it would look yellow and when photographed outside it would be a little blue. This situation occurs because camera sensors are designed to record images without casts in daylight only. As the color balance of the light for our three examples is different to daylight, that is, some parts of the spectrum are stronger and more dominant than others, the pictures record with a cast. The color of the light source illuminating the subject in your picture determines the cast that will result.
When is white light not white? >> The color of white light varies from source to source. Our eyes adjust to these changes but the camera will record the differences as a color cast in your pictures. The White Balance feature is designed to rid your images of these casts. (a) Candle. (b) Household bulb. (c) Daylight. (d) Flash. (e) Cloud. (f) Skylight (no sun). (g) White fluorescent. (h) ‘Daylight White’ fluorescent. (i) ‘Daylight’ fluorescent.
Traditional shooters have been aware of this problem for years and because of the limitations of film, most photographers carried a range of color conversion filters to help change the light source to suit the film. Digital camera producers, on the other hand, are addressing the problem by including White Balance functions in their designs. These features adjust the captured image to suit the lighting conditions it was photographed under. The most basic models usually provide automatic white balancing, but it is when you start using some of the more sophisticated models that the choices for white balance correction can become a little confusing.
Most modern digital cameras provide a vast array of options that should have you shooting ‘cast-free’ in any lighting conditions. The selections include:
Auto,
Fine or Daylight,
Incandescent,
Fluorescent,
Cloudy,
Speed light or Flash, and
White Balance Preset.
Color casts from different light sources >> Camera sensors are balanced for daylight. Shooting pictures under nondaylight light sources will result in the color casts we see above. (a) Daylight. (b) Fluorescent. (c) Household bulb or incandescent. (d) Flash. (e) Cloudy day.
Auto white balance >> The modern digital camera has a highly developed auto white balance system. It performs well under most lighting scenarios and should be your first choice when shooting under difficult conditions.
Auto White Balance
The Auto function assesses the color of the light in the general environment and attempts to neutralize the mid tones of the image. As with most ‘auto’ camera features, this setting works well for the majority of ‘normal’ scenarios. The feature does a great job with scenes that contain a range of colors and tones, but you may strike some difficulty with subjects that are predominantly one color, or are lit from behind. Also keep in mind that some subjects, such as cream lace, are meant to have a slight color shift and the use of the Auto feature in this case would remove the subtle hue of the original.
Apart from these exceptions most cameras’ Auto features produce great results that require little or no post-shooting color correction work. So it’s my suggestion that if in doubt try the Auto setting first. Check the results on the preview screen of the camera and if there is a color cast still present then move on to some more specific white balance options.
Light Source White Balance Settings
The Daylight (Fine), Incandescent, Fluorescent, Cloudy and Flash (Speed light) options are designed for each of these light types. The manufacturers have examined the color from a variety of each of these sources, averaged the results and produced a white balance setting to suit. If you know the type of lighting that your subject is being lit by, then selecting a specific white balance setting is a good move.
Again, for the majority of circumstances these options provide great results, but for those times when the source you are using differs from the ‘norm’, companies like Nikon have included a fine-tuning adjustment. With the light source set the command dial is turned to adjust the color settings.
Fine-tuning white balance >> With some models white balance settings can be fine-tuned to suit specific lighting scenarios. With this camera plus values add blue to the picture and negative values add red.
For Daylight, Incandescent, Cloudy and Flash options selecting positive values will increase the amount of blue in the image. Alternatively, negative numbers will increase the red content.
If you have selected Fluorescent as your light source then the Fine-tuning feature will allow you to select one of three different white balance settings. FL1 is suitable for tubes marked ‘white’, FL2 should be used with ‘Daylight White’ fluorescents and FL3 is for those labelled ‘Daylight’.
2.08 Applying Fine-Tuning Automatically
Suitable for Elements – 5.0, 4.0, 3.0, 2.0, 1.0 | Difficulty level – Intermediate Related techniques – 2.07
If you are like me and find manually fine-tuning hampers the flow of your photography – shoot, stop, switch to menu, fine-tune white balance, shoot again, stop, switch to menu ... you get the idea – then check to see if you camera has an Auto White Balance Bracketing option. This feature automatically shoots a series of three images starting with the standard white balance settings and then adding a little blue and finally a little red.
I find white balance bracketing particularly useful when shooting difficult subjects like the hand blown colored glass in the example. As three separate images are saved I can make decisions about the most appropriate color by previewing them on my work station’s large color calibrated monitor later rather than the small preview screen on the back of my camera in the field.
Auto fine-tuning >> The White Balance Bracketing option automatically captures several pictures with slightly different color settings. (a) Standard setting. (b) + Red. (c) + Blue.
Preset white balance options >> You can obtain a precise white balance setting under mixed lighting conditions by using the Preset or Customize option in your camera. When the feature is activated the camera will analyse a white (or mid gray) card in the scene, neutralize any casts that are present and set the white balance according to the analysis. The images now photographed with this preset white balance setting will be cast-free.
2.09 Customizing Your White Balance
Suitable for Elements – 5.0, 4.0, 3.0, 2.0, 1.0 | Difficulty level – Intermediate | Related techniques – 2.07, 2.08
In a perfect world the scene you want to shoot will always be lit by a single source. In reality most scenarios are illuminated by a variety of different colored lights. For instance, what seems like a simple portrait taken in your lounge could have the subject partially lit by the incandescent lamp stand in the corner, the fluorescent tube on the dining room ceiling and the daylight coming through the windows. Because of the mixed light sources a specific white balance setting is not appropriate. Instead, you should use the customize, or preset, white balance option on your camera.
Based on video technology, this feature works by measuring the light’s combined color as it falls onto a piece of white paper. The camera then compares this reading with a reference white swatch in its memory and designs a white balance setting specifically for your shooting scenario. With the process complete you are now set to shoot your portrait secure in the knowledge that you will produce cast-free images. Always remember though, because this is a customized process if you decide to turn a light off, or move your subject to another position in the room, then you will need to remeasure and reset you white balance.
This way of working is by far the most accurate way to correct the color casts resulting from mixed lighting sources in your pictures.
It takes into account changes in color that result from:
Light reflecting off brightly painted walls,
Bulbs getting older,
Mixed light sources,
Light streaming through colored glass, and
Shooting through colored filters.
2.10 Shooting Raw for Ultimate Control
Suitable for Elements – 5.0, 4.0, 3.0, 2.0, 1.0 | Difficulty level – Intermediate | Related techniques – 2.02
More and more medium to high end cameras are being released with the added feature of being able to shoot and save your pictures in Raw format. For most users this option on the camera’s file menu has no real significance, but there are a growing number of photographers who having tried the new file type vow never to go back to using any other format. They boast of the extra quality and control that is achievable when using Raw for their image making and probably most impressive of all often refer to images in this format as being the closest thing to a digital ‘negative’ that we have yet seen. But why all this talk about Raw? What does the term actually mean and how can it help me take better pictures?
Raw files >> Unlike TIFF and JPEG formats, Raw files contain the unprocessed image and shooting data. In many cameras the visual information is laid in the Bayer pattern of the original sensor.
Back to the Beginning
To start to understand the importance of Raw formats we need to go back to the beginning of the capture process. All single shot digital cameras (except those using the Foveon chip) contain a sensor that is made up of a grid of light-sensitive sites. Each site responds to the amount of light that hits its surface. By recording and analysing each of these responses a tone is attributed to each sensor site in the grid. In this way a digital picture can be created from the range of scene brightnesses that are focused through the lens onto the sensor’s surface. Fantastic though this is, this process only results in a monochrome (black, white and gray) picture as the CCD or CMOS sensors by themselves cannot record the color of the light, only the amount.
To produce a digital color photograph a small filter is added to each of the sensors. In most cameras these filters are a mixture of the three primary colors red, green and blue and are laid out in a special design called a Bayer pattern. It contains 25% red filters, 25% blue and 50% green with the high percentage of green present in order to simulate the human eye’s sensitivity to this part of the visible spectrum. In their raw, or unprocessed, format the output from these sensors is made up of a grid of red, green and blue patches (pixels) of varying tones. And yes this does mean that in any individual picture only 25% of the sensor sites are actually capturing information about the red or blue objects in the scene.
I hear you saying ‘But the images that I download from my camera are not split into discrete RGB colors’. This is true. What emerges from the camera is a full color picture which contains 100% red, 100% blue and 100% green pixels. This occurs because as an integral part of the capture process the raw RGB data that comes from the sensor is interpolated to create a full color image. Using special algorithms, the extra detail for a non-red site, for instance, is created using the information from the surrounding red, green and blue sites. This process is called interpolation and though it seems like a lot of ‘smoke and mirrors’ it works extremely well on most cameras.
When you opt to save your images in JPEG or TIFF formats this capture and interpolation process happens internally in the camera each time you push the shutter button. In addition your camera will also reduce the number of colors and tones from the 16-bit color depth that was captured to the 8 bits that are stored in the file. Selecting a Raw format stops the camera from processing the color-separated (primary) data from the sensor and reducing the image’s bit depth, and saves the picture in this unprocessed format. This means that the full description of what the camera ‘saw’ is saved in the image file and is available to you for use in the production of quality images.
Raw images >> The image stored in a Raw file is based upon the base data that comes directly from the sensor and needs to be interpolated to create the full color digital file we normally associate with camera output.
DIY Raw Processing
Sounds great, doesn’t it? All the quality of an information-rich image file to play with, but what is the catch? Well, Raw files have to be processed before they can be used in a standard image editing application. To access the full power of these digital negatives you will need to employ a special dedicated Raw editor. Photoshop Elements 3.0 was the first version of the program to have such an editor built into the program. Called Adobe Camera Raw this feature is designed specifically to allow you to take the unprocessed Raw data directly from your camera’s sensor and convert it into a usable image file format. Chapter 3 is dedicated to the processing of raw files using Photoshop Elements.
The Elements Raw editor also provides access to several image characteristics that would otherwise be locked into the file format. Variables such as color depth, White Balance mode, image sharpness and tonal compensation (contrast and brightness) can all be accessed, edited and enhanced as a part of the conversion process. Performing this type of editing on the Raw data provides a better and higher quality result than attempting these changes after the file has been processed and saved in a non-Raw format such as TIFF or JPEG.
To help consolidate these ideas in your mind try thinking of a Raw file as having three distinct parts:
Camera Data, usually called the EXIF or metadata, includes things such as camera model, shutter speed and aperture details, most of which cannot be changed.
Image Data which, though recorded by the camera, can be changed in the Elements Raw editor and the settings chosen here directly affect how the picture will be processed. Changeable options include color depth, white balance, saturation, distribution of image tones and application of sharpness.
The Image itself. This is the data drawn directly from the sensor in your camera in a non-interpolated form. For most Raw-enabled cameras, this data is supplied with a 12- or 16-bits per channel color depth providing substantially more colors and tones to play with when editing and enhancing than found in a standard 8-bits per channel camera file.
Raw files make-up >> The Raw file is composed of three separate sections: Camera Data, Image Data and the Image itself. By keeping these components separate it is possible to edit variables like white balance and color mode which are usually a fixed part of the file format.
When you open a Raw file in Elements 5.0 you are presented with the Adobe Camera Raw dialog containing a full color interpolated preview of the sensor data. Using a variety of menu options, dialogs and image tools you will be able to interactively adjust image data factors such as tonal distribution and color saturation. Many of these changes can be made with familiar slider controlled editing tools normally found in features like Levels and the Shadows/Highlights control. The results of your editing can be reviewed immediately via the live preview image and associated histogram graphs.
Adobe Camera Raw dialog >> When you open a Raw file in Elements the Adobe Camera Raw editor is activated providing you with a range of sophisticated controls for the enhancement and conversion of your Raw files. After making your changes, you click Open, the plug-in closes and the converted file is placed into the Elements workspace. (a) Adjust Tab options. (b) Detail Tab options.
Capture workflow >> Selecting JPEG or TIFF as your picture’s file format means that the image processing is handled by the camera. In contrast choosing the Raw format removes this task from the camera and places it firmly with you and your computer. Working this way means that you have a say in decisions about white balance, contrast, brightness, sharpness and color mode.
After these general image editing steps have taken place you can apply some enhancement changes such as filtering for sharpness, removing color noise and applying some smoothing. The final phase of the process involves selecting the color depth and image orientation. Clicking the OK button sets the program into action applying your changes to the Raw file, whilst at the same time interpolating the Bayer data to create a full color image and then opening the processed file into the full Elements Standard Editor workspace.
The real advantages of editing and enhancing at the Raw stage are that these changes are made to the file at the same time as the primary image data is being converted (interpolated) to the full color picture. Editing after the file is processed (saved by the camera in 8-bits per channel versions of the JPEG and TIFF format) means that you will be applying the changes to a picture with fewer tones and colors. A second bonus for the dedicated Raw shooter is that actions like switching from the white balance option selected when shooting to another choice when processing are performed without any image loss. This is not the case once the file has been processed with the incorrect white balance setting, as anyone who has inadvertently left the tungsten setting switched on whilst shooting in daylight can tell you.
For a more in-depth look at raw processing steps in Photoshop Elements go to Chapter 3.
Having an understanding of all these camera techniques is one thing but putting them together when you are out shooting is another. To capture the most detail and in the best quality that your camera offers is a multi-step process. The following table summarizes the steps involved in three different approaches to capturing images using the techniques discussed above. The highest quality is obtained by shooting with a Raw file which is then enhanced using a dedicated editor. If your camera doesn’t contain Raw capabilities then the next best option is to shoot TIFF and make your adjustments in Elements. If neither option is available then using ‘best quality’ JPEG will give good results.
Scanners >> The most popular scanners can be divided into two distinct groups. (a) Dedicated film scanners that are designed to record digital files from transparent originals such as negatives and slides. (b) Reflective scanners which are used to convert prints to digital files. Some of the models in this group have transparency attachments which provide the extra ability to scan slides and negatives as well.
It was not too long ago that an activity like scanning was the sole responsibility of the repro house. The photographer’s job was finished the moment that the images were placed on the art director’s desk. But as we all know, the digital revolution has changed things for ever, and scanning is one place where things will never be the same.
Desktop scanners that are capable of high-resolution color output are now so cheap that some companies will throw them in as ‘freebies’ when you purchase a complete computer system. The proliferation of these devices has led to a large proportion of the photographic community now having the means to change their prints, negatives or slides into digital files. But as all photographers know, having the equipment is only the first step to making good images.
For the most part, scanners can be divided into three distinct varieties – film, print and the more recent hybrid or combination scanner.
Dedicated film – This device is set up specifically for negative or slide capture and is usually restricted to a single format (135 mm/120 mm/5 × 4 inch). The hardware is not capable of reflective scanning. If your business involves the repeated capture of images of the one film type, a dedicated scanner is a good investment.
Dedicated print – The scanners in this category are the most affordable and easily obtainable of the three types. If you can’t afford a digital camera of the quality that you desire and you have loads of prints in boxes lying around the house then spending a couple of hundred dollars here will have you enhancing high quality digital versions of your pictures in no time.
Hybrid – These scanners are capable of both reflective and transmission scanning. This means that the one device can capture both film and print images. Starting life as flatbeds with added transparency adapters, these scanners have developed into multi-function devices that are capable of producing quality files from both types of originals.
2.12 Scanning Resolution – ‘Know Where You are Going Before You Start the Journey’
Suitable for Elements – 5.0, 4.0, 3.0, 2.0, 1.0 | Difficulty level – Intermediate Related techniques – 2.01
Just as is the case with camera-based capture, the quality of the digital picture that results from our scanning activities is based primarily on resolution and color depth. It is critical that these two factors are carefully considered before any scanning capture takes place.
Scanning resolution, as opposed to image or printing resolution, is determined by the number of times per inch that the scanner will sample your image. The number of pixels generated by a digital camera has an upper limit that is fixed by the number of sensors in the camera. This is not the case for scanner capture. By altering the number of samples taken for each inch of the original print or negative you can change the total number of pixels created in the digital file. This figure will affect both the ‘enlargement’ potential of the final scan and it’s file size. The general rule is the higher the resolution the bigger the file and the bigger the printed size possible (before seeing pixel blocks or digital grain).
Scanning resolution >> Adjusting the resolution that you scan at will directly affect the pixel dimensions of your final file. High scanning resolution will create more pixels in the files which translates into bigger prints.
Does this mean that we always scan at the highest resolution possible? The intelligent answer is NO! The best approach is to balance your scanning settings with your printing needs. If you are working on a design for a postage stamp you will need less pixels to play with than if you want your masterpiece in poster format. For this reason it is important to consciously set your scanning resolution keeping in mind your required output size. See section 2.01 for more details about resolution.
Some scanning software will give you an indication of resolution, file size and print size as part of the dialog panel but for those of you without this facility use the table on page 42 as a rough guide.
Suitable for Elements – 5.0, 4.0, 3.0, 2.0, 1.0 | Difficulty level – Basic | Related techniques – 2.02
As we have seen already color depth refers to the number of possible colors that make up the digital file upon the completion of scanning. If you have the choice always select 16-bit scanning mode (sometimes called 48 bit – 16 bits for red + 16 bits for green + 16 bits for blue) instead of 8-bit as this provides you with the opportunity to capture as much information from your photographic original as possible. Remember this is true even if you intend to convert these files to 8-bit immediately upon opening. The more accurately the image is scanned in the first place the better quality the down sampled file will be after the conversion has been made.
Scan in 16-bit mode >> To capture the best detail, colour and tone always scan in 16-bit mode.
Suitable for Elements – 5.0, 4.0, 3.0, 2.0, 1.0 | Difficulty level – Intermediate
Scanners in the mid to high end range often contain another feature that is designed to increase the quality of digital capture, especially in the darkest parts of the negative or print. Called Multi-Sample Scanning, it is a process where the image is sampled or scanned several times and the results averaged. This approach is particularly helpful when the scanner is trying to penetrate the shadow areas of a print or the highlight parts of a negative. It is in these parts of the picture that a single pass scan will most likely provide a ‘noisy’ result.
You can reduce this noise by making several scans of the same area and then averaging the result. The theory is that the level of noise reduction is directly proportional to the number of samples to be averaged. Therefore machines that offer a multi-sample rate of ‘16x’ will produce better results than those that only contain a ‘4x’ version. The down side to the technology is that all this extra scanning and averaging does take time. For instance the Minolta Dimage Dual III set to 8x Multi-Sample can take up to 14 times longer to make a high-resolution, high-bit scan of a 35 mm negative. For most well-exposed and processed negatives or prints there will be little extra quality to gain from this procedure, but for those troublesome images that seem to have areas of dark impenetrable detail using multi-sample will definitely produce a better overall result.
Multi-sample scan >> Some scanners offer the option of ‘multi-scanning’ your film original. Select this setting for the best overall capture of difficult negatives or slides, but be warned – using this feature dramatically increases your scanning time.
Highlight and shadow adjustment >> Using the Levels or Curves feature in your scanner driver adjusts the capture to ensure that delicate highlight and shadow details are maintained and tones are well spread.
Contrast changes >> Flat pictures can be corrected at scanning time by adjusting black and white using the Brightness or Contrast tools in the scanner driver.
2.15 Highlight and Shadow Capture
Suitable for Elements – 5.0, 4.0, 3.0, 2.0, 1.0 | Difficulty level – Basic
With resolution and color depth set we can now scan the image – well almost! Just as exposure is critical to making a good photograph, careful exposure is extremely important for achieving a good scan.
All but the most basic scanners allow some adjustment in this respect. Preview images are supplied to help judge exposure and contrast, but be wary of making all your decisions based on a visual assessment of these often small and pixelated images. If you inadvertently make an image too contrasty then you will lose shadow and highlight detail as a result. Similarly, a scan that proves to be too light or dark will also have failed to capture important information from your print or film original.
It is much better to adjust the contrast, sometimes called gamma, and exposure settings of your scan based on more objective information. For this reason a lot of desktop scanner companies provide a method of assessing what is the darkest, and lightest, part of the image to be scanned. Often looking like the Info palette in Elements these features give you the opportunity to move around the preview image pegging the highlight and shadow areas. Other scanner drivers include their own version of the histogram, which you can use to diagnose and correct brightness and contrast problems. With these tools you can set the black and white points of the image to ensure that no details are lost in the scanning process.
Color cast correction >> Color casts can be removed from scanned originals using the slider controls found in the scanner driver.
For those readers whose scanning software doesn’t contain this option, try to keep in mind that it is better to make a slightly flat scan than risk losing detail by adjusting the settings so that the results are too contrasty. The contrast can be altered later when you edit the picture in Elements.
Suitable for Elements – 5.0, 4.0, 3.0, 2.0, 1.0 Difficulty level – Intermediate
Despite our best abilities some photographs are captured with a dominant color cast that pervades the whole picture. Using the scanner driver’s own color adjustment feature you can neutralize this tint at the time of capture. Frequently the scanner software provides a before and after thumbnail of you color adjustments so that you can preview your changes before committing the final settings. Now when the picture is scanned the color balance is adjusted and the color cast removed.
It is true that this process can be handled by Elements using the Color Cast or Color Variations features but, as we have already seen with the camera techniques above, the best quality images are generated when adjustments such as these are made at the capture stage.
Removing casts with histograms >> In the absence of dedicated cast removal sliders careful adjustment of the histogram for each channel can achieve the same results.
Suitable for Elements – 5.0, 4.0, 3.0, 2.0, 1.0 Difficulty level – Basic
One of the hidden enemies of quality scans is dust. Though the presence of dust won’t reduce the ability of the scanner to record highlight and shadow detail accurately it does decrease the overall quality of the file because the affected area must be retouched later in Elements. No matter how proficent the retouching is, the ‘rebuilt’ section of the picture that is created to cover the dust mark will never be the same as the detail that existed in the original negative, slide or print. More important, especially for the photographer with hundreds of scans to complete, is the massive amount of time needed to retouch these dusty areas.
Some scanner models will include eatures designed to remove dust (and scratches) automatically from the picture during the scanning process. This technology when applied carefully can produce truly amazing results. One example is the Digital ICE technology produced by Applied Science Fiction (www.asf.com). Unlike post-capture processing where the dust mark is covered over using samples of other picture detail that surrounds the area, ICE isolates the marks during the scanning process and then proceeds to erase the defects from the picture. As the process is directly linked to the scanning hardware the Digital ICE technology cannot be applied to a dust affected image after it has been captured.
If you are considering buying a scanner then it is worth considering a make and model that incorporates the ASF Digital ICE feature. It’s true that the defect detecting and erasing processes do add to the overall scanning time, but the retouching time saved more than makes up for it.
Auto dust removal >> Features like ASF’s Digital ICE can remove dust and scratch marks automatically at the time of scanning. (a) Before Digital ICE. (b) After Digital ICE.
2.18 Noise Reduction Technologies
Suitable for Elements – 4.0, 3.0, 2.0, 1.0 | Difficulty level – Basic
As part of the process of scanning an image, visual errors are introduced into the file that were not part of the original. This is true to varying degrees for both entry level and high end scanners. The most noticeable of these errors is called noise and usually shows up in shadow or highlight areas of the picture as brightly colored random pixels or speckles. Image noise can be caused by a variety of factors including high speed film grain (high ISO), under- or overexposed negatives or slides, lighting conditions with brightness extremes, and image enlargement, as well as the CCD sensor itself. At worst, high levels of noise within a picture cause the image to appear unsharp and less detailed and have the potential to distract a viewer’s attention away from the content of the image. To help correct or, more accurately, minimize the impact of noise in our digital photographs scanner manufacturers like Kodak, Minolta, Nikon and Umax have banded together with software producer Applied Science Fiction(www.asf.com) to include ASF’s Digital GEM product in their scanning software. GEM reduces image noise and grain during the scanning process and should be used when standard scanner settings produce noisy results.
Cameras and Noise
Scanners are not the only capture devices that can introduce noise into a digital photograph. The sensors in cameras can suffer from the same problems as those found in scanners.
Generally, noise is at its worst in photographs taken with high ISO (equivalent) settings or when the shutter speed is longer than one second.
To help remove the noise in camera-captured pictures ASF also produces a plug-in version of their GEM software that can be activated via the Filter menu in Elements. This version of the software provides a little more control than that provided as part of the scanner driver as it allows separate adjustments for highlight and shadow noise as well as a slider control to alter the sharpness of the picture.
Alternatively, Elements versions 5.0 contains the Reduce Noise filter (Editor: Filter > Noise > Reduce Noise). As with the GEM plug-in the filter contains several sliders that help balance noise removal and overall sharpness of the processed picture.
Removing noise >> Using a technology such as ASF’s Digital GEM feature whilst scanning will reduce the appearance of grain in your picture whilst maintaining the sharpness and clarity of the photograph.
Noise before Digital GEM.
Noise after Digital GEM.
Elements’ new Reduce Noise filter.
Recreation of color >> ASF’s Digital ROC feature recreates the color lost in original pictures due to fading or incorrect color balance at the time of shooting. (a) Before and (b) after color regeneration.
2.19 Color Regeneration Features
Suitable for Elements – 5.0, 4.0, 3.0, 2.0, 1.0 | Difficulty level – Basic
The last feature in the Applied Science Fiction trinity of scanning products is Digital ROC. Starting life as a feature designed specifically for use in the restoration of faded negatives or prints, many scanner operators now regularly leave the ROC option turned on for their non-restoration jobs as well. It provides a fast and effective way to automatically adjust the scanned image to account for over- and underexposure, color casts and, of course, fading. The feature analyses the data from the blue, green and red layers, identifying areas of loss and carefully recreating density and detail. ROC can also be used to restore density to faded black and white prints or negatives if the original is scanned in RGB mode initially.
The product is available as a plug-in for Elements or as part of your scanner software. Most scanners that included ICE and GEM also contain the ROC feature as well. The plug-in offers more control over the color regeneration process by providing slider adjustments for the red-cyan, green-magenta and blue-yellow tints.
Digital ROC for cameras >> The ROC and GEM components of the Digital ICE suite are also available as plug-ins for Photoshop Elements, providing grain reduction and color balancing options for camera-based images.
Making sure that your negatives/prints are clean before scanning can save a lot of time spent removing marks from the picture later. Use a soft cloth or a blower brush to remove surface particles before placing the film strip into the holder or the print on the platen. Don’t forget to clean the glass of the scanner as well.
Check with your scanner manual to see which way the film should be placed in the holder. Inserting the film the wrong way round will mean that any writing in the picture will be back to front. Place the film in the holder ensuring the strip aligns with holder edges. Insert the film holder into the scanner. For flatbed scanners, place the photograph face down on the glass surface making sure that the edges are parallel with the scanner’s edge.
Start the scanner software. You can do this from inside Elements. Simply select the scanner name from the Import (Editor: File > Import) menu. This will open the software that controls the scanner. Some scanners are supplied with a stand-alone version of this software that you can access from your program’s menu without having to open an editing package first.
Fixing Common Shooting Problems
Use the guide below to help diagnose and solve shooting problems.
1. Focus not on main subject
Problem: The main subject in the image is not sharply focused.
Cause: This is usually caused by not having the auto focus area on the main subject at the time of shooting.
Solution: If your subject is off to one side of the frame make sure that you lock focus (pressing the shutter button down halfway) on this point before re-composing and releasing the shutter button.
2. Picture too light
Problem: The photograph appears washed out or too light with no detail in the light areas of the print.
Cause: This is caused by too much light entering the camera causing the overexposure.
Solution: You can resolve this problem by adjusting the camera’s exposure compensation control so that it automatically reduces the overall exposure by one stop. Shoot again and check exposure. If still overexposed, change the compensation to two stops. Continue this process until the exposure is acceptable.
3. Picture too dark
Problem: The photograph appears muddy or too dark with no detail in the shadow areas of the print.
Cause: Again this is a problem of exposure. This time not enough light has entered the camera.
Solution: Adjust the exposure compensation control to add more light or alternatively use a flash to help light your subject.
4. Subject too blurry
Problem: The main subject, or the whole picture, appears blurry and unsharp.
Cause: When images appear blurry it is usually the result of the subject, or the photographer, moving during a long exposure.
Solution: Use a tripod to reduce the risk of camera shake and try photographing the subject at a point in the activity when there is less movement.
5. Flash off glass
Problem: This problem results from the flash bouncing straight back from the glass into the lens of the camera.
Cause: The flash travels directly from your camera hitting the glass and bouncing directly back into the lens.
Solution: Using available light rather than the flash is one solution. Another is to move a little to one side so that the flash angles off the glass surface away from the camera.
Adjusting for backlighting >> The camera’s exposure system can be easily fooled when there is a source of bright light in the photo and the subject is in shadows. Here the portrait sitter is a silhouette because the camera is basing the exposure on the light coming from the window. To correct this situation:
- Move the subject so that they are no longer framed by the window, or
- Use fill flash to illuminate the subject in the foreground, or
- Fill the frame with the subject and then take your exposure reading.
6. Portrait too dark
Problem: Instead of a clear picture of your subject framed by the window you end up with a silhouette effect, where the subject is too dark but the window is well exposed. See above.
Cause: When your subject is sitting against an open window the meter is likely to adjust exposure settings for the light around your subject.
Solution 1: Move the subject so that the light from the window falls onto them from the front or side rather than behind.
Solution 2: Use the camera’s flash system, set to ‘fill flash mode’, to add some more light to the subject.
Solution 3: Move closer to the subject until it fills the frame. Take an exposure reading here (by holding the shutter button down halfway) and then reposition yourself to make the exposure using the saved settings.
7. Portrait too light
Problem: The main subject is ‘blown out’ or too light (overexposed).
Cause: This problem is the reverse of what was happening in the example above. Here the meter is seeing the large dark areas within the frame and overcompensating for it, causing the main subject to be too bright.
Solution 1: Manually compensate for the overexposure by adjusting the camera’s exposure compensation mechanism so that the sensor is receiving one, two or three stops less light.
Solution 2: Move close to the subject until it fills the frame. Take an exposure reading here and then reposition yourself to take the picture using the saved settings.
Fixing Common Scanning Problems
Use the guide below to help diagnose and solve scanning problems.
1. Marks on the picture
Problem: The photograph contains marks on the surface after scanning. Cause:This usually occurs because of dust or scratches on the glass plate on the top of the scanner or on the photograph or negative.
Solution: Clean the glass plate and photograph carefully before placing and scanning your picture. If you still have marks use a retouching tool to remove them (see the Eliminating blemishes technique in Chapter 8 for more details).
2. Color picture appears black and white
Problem: After scanning a color picture it appears black and white on screen.
Cause: The ‘original’ or ‘media’ option in the scanner software is set to black and white and not color.
Solution: Re-scan the picture making sure that the software is set to color original or color photograph.
3. Picture is too bright
Problem: The picture looks too bright overall. Light areas of the photograph appear to be completely white with no details.
Cause: The picture has been scanned with the wrong ‘exposure’ or ‘brightness’ setting.
Solution: Re-scan the picture, but this time move the brightness or exposure slider towards the dark end of the scale before scanning.
4. Picture is too dark
Problem: The picture looks too dark overall. There is no detail in the shadow parts of the photograph.
Cause: The picture has been scanned with the wrong ‘exposure’ or ‘brightness’ setting.
Solution: Re-scan the picture, but this time slide the Brightness or Exposure slider towards the light end of the scale before scanning.
5. Picture looks washed out
Problem: The picture has no vibrant colors and looks washed out.
Cause:The contrast control in the scanner software is set too low.
Solution: Re-scan the photograph altering the scanner’s contrast setting to a higher value.
6. Writing is back to front
Problem: The message on a billboard in the picture is back to front.
Cause: The negative or slide was placed into the scanner back to front.
Solution: Turn the film or slide over and scan again.
7. The picture has too much contrast
Problem: The delicate light areas and shadow details of the picture can’t be seen and have been converted to completely white and completely black.
Cause: The contrast control in the scanner software is set too high.
Solution: Re-scan the photograph altering the scanner’s contrast setting to a lower value.
8. When I print my scanned picture it is fuzzy
Problem: The print of a scanned image is fuzzy, not very clear or is made up of rectangular blocks of color.
Cause: To get the best quality prints from your scanned pictures you must make sure that you match the scan quality (resolution) with the output requirements. A fuzzy or unclear print is usually the result of using a scan quality setting that is too low.
Solution: Re-scan the picture using a higher scan quality setting (resolution).