Training notes on Digital Imaging from The Universody
What you should Know
Basic Camera Use
File types
Image sizes
Raw Files
Computers
Software
Image Preparation
Aspect ratio
Colour Profiling
Colour Work Flow
Open Source Software
Cost of Macs ..
Photoshop or not
Digital Imaging
Things you need to know
Technique is more important than equipment
The structure of a digital image
File sizes from different cameras and what is possible from them
The difference in image 'quality' from different chip sizes ( not number of mega pixels )
The concept of 'Fit for Purpose' learn about printing techniques and the best way to prepare files.
The advantages ( and disadvantages ) of RAW files
Workflow: how to save, rename, and store files and protect original images
Learning to think in pixels:
The building blocks of a digital image are pixels
A six mega pixel camera gives an image 3000x2000 pixels ( 6 million pixels )
3000x2000 pixels gives an image of 10”x6.7” @ 300dpi – print size
This will usually interpolate up to 4500x3000 pixels 15”x10” @ 300dpi without noticeable loss of quality
This will print through RIP software to 20”x13.5” without noticeable loss of quality
A good sharp image taken as a RAW file at low ISO through a good lens will print to 30”x20” without
noticeable loss of quality
Things you need to discover
How to properly use image manipulation software
Learn the theory and the technique not the the software. You don't need to know how Photoshop works
you need to know how an image behaves.
The advantages of alternative ( to Photoshop ) software
Raw file conversion
How to batch convert
File formats for different use – jpg, tif
How to resize for different print output
Colour management the difference between workspace profiles – SRGB, ARGB etc.
Using, applying and discarding colour profiles – which profile for which printer
Correct use of sharpening – not over sharpening
What is expected of Professional Photographers
File preparation for purpose – print – web – publication
With digital photography more is now possible and often more is expected from the photographer.
They can no longer hand over a set of transparencies, they are often expected to supply image images
ready for print and publication. This may involve colour balancing, resizing, removing small unwanted
items or complete backgrounds. Burning and dodging, selective correction and adjustment.
What has not changed
Good camera craft, exposure, focus, understanding of depth of field, lighting and colour correction.
Composition, cropping, adjusting or correcting verticals, ( although some of these tasks have moved
from the camera to the digital darkroom )
Industry Standards
Whilst there are pieces of equipment and software programmes commonly used there are no standards
in these areas. File formats are standard ( or should be ) equipment and work methods differ. Use an
Open Approach to learning not a blinkered one.
Basic camera use
Image Size/Quality:
To get the best from the camera use the highest
settings.
Image Size:
Most cameras will offer a range of image size, they
may show the resolution by pixel e.g. 2400X1600 or
they may show best, high, good, fair, or large medium, low.
These options will determine the size of image captured which will determine the size of the print
possible.
Image Quality:
All cameras save images as compressed jpg files. This file type offers variable compression. The lower
the compression, the less loss of quality and therefore the better the image. High compression allows
more images to be stored on the card but increases the chance of digital noise and 'image blocking'. For
best results use the highest quality (lowest compression) possible. If possible use Raw.
Light Colour:
Most cameras will let you change the lighting balance
to achieve correct results under artificial light.
Use auto ( AWB ) if you are not sure.
Exposure Control:
Control of exposure is usually very similar to that on traditional cameras.
Modes offered may include:
Manual: offering full control.
Aperture Priority: you set the aperture the camera controls the shutter speed.
Shutter Priority: you control shutter speed and the camera sets the aperture.
Programme: complete automatic control.
ISO: Equivalent of film speed
The higher the ~ISO the 'noisier' the image will be, the lower the ISO the higher the quality.
RAW:
A RAW file records the details as taken, it saves that information captured without applying any
parameters, you then have the option of using Raw conversion software to reset the colour, tonal range
and to a degree exposure. Because the file is not compressed all the information captured is saved,
nothing is discarded. By allowing you to make decisions about the file parameters after taking you have
much greater flexibility. A greater tonal range is possible with a RAW file. There is no single RAW format,
rather it is a generic name that describes a a family of file formats. Most camera manufactures have their
own formats, some have more than one. This means that there are over 12 commonly used file types -
all called 'RAW'. To open these files you need a program that will understand and process them enabling
them to be saved as one of the more common file types.
File types:
Image have to be saved as files, there are many formats to choose from:
Of all the different file types the most useful are:
Photoshop .psd:
Advantages:
useful when saving work in progress, there is no loss of image quality and images can be
saved with layers.
Disadvantages:
very few other programmes will understand open or import psd files
no use when exporting to Desk Top Publishing programmes uncompressed the files are large
Gimp .xcf:
Advantages:
useful when saving work in progress, there is no loss of image quality and images can be
saved with layers - saves layers in Gimp.
Disadvantages:
very few other programmes will understand open or import xcf files
no use when exporting to Desk Top Publishing programmes.
Tiff .tif:
Advantages:
providing you don't use the compression mode no loss of quality, accepted by most D.T.P.
programmes
Disadvantages:
uncompressed the files are large, does not support layers
New versions of Photoshop does - but don't do it!
Jpeg .jpg:
Advantages:
variable compression allows file sizes to be made much smaller for saving to disk and for
sending over the inter-net or by e-mail (files can be one tenth of the size of a tif or psd).
Standard image format for pictures on the web. Accepted by a large range of other
programmes. Standard format for Photographic lab printing.
Disadvantages:
compression loses some quality especially if the file is opened and saved several times, does
not support layers.
Compression with jpg files
See examples of images saved at different quality/compression settings.
Saving at high quality low compression will create a file without significant loss of quality, using
the wrong settings will degrade the image.
The loss in quality is repeated each time a file is saved as a jpg.
Image saved as a high quality / low compression Image saved as a low quality / high compression
jpg file. jpg file.
Save as best quality .jpg ( 8 bit and Srgb ) for printing through labs
Save as .tif ( Argb ) for printing for printing through wide format ink jet
File sizes:
A rough guide to file sizes.
A 10"x8" image at 300dpi will be approx 20mb
and a 16"x12" image will be approx 50mb
A 4 megapixel camera will give an image of 11mb (saved as .jpg - approx 2mb)
A 6 megapixel camera will give an image of 17mb (saved as .jpg - approx 3-4mb)
A 15 megapixel camera will give an image of 41mb (saved as .jpg - approx 9mb)
File sizes / Print sizes:
File sizes from different digital cameras:
(all sizes are approximate) assuming 300dpi for print
Compact cameras
Original image Print size
4 mega pixel 'compact' 7.5” x 5.7”
5 mega pixel 'compact' 8.6” x 6.5”
7 mega pixel 'compact' 10.2” x 7.7”
10 mega pixel 'compact' 12” x 9”
DSLR cameras
Original image Print size Pixels File size
6 mega pixel DSLR 10” x 6.5” (3000 x 2000 pixels) (17mb uncompressed)
8 mega pixel DSLR 11.6” x 7.8” (3504 x 2336 pixels)
10 mega pixel DSLR 13” x 8.6” (3870 x 2590 pixels) (29mb uncompressed)
12 mega pixel DSLR 14.5” x 9.7” (4360 x 2900 pixels)
16 mega pixel DSLR 16.5” x 11” (4992 x 3328 pixels) (48mb uncompressed)
Scanned images:
Original image Print size Pixels File size
35mm film scanned at 2400dpi 12” x 8” @300dpi (3600 x 2400 pixels) (25mb uncompressed)
35mm film scanned at 4800dpi 24” x 16” @300dpi (7200 x 4800 pixels) (100mb uncompressed)
6x7 medium format film at 2400 22” x 18” @300dpi (6600 x 5400 pixels) (100mb uncompressed)
6x7 medium format film at 4800 44” x 36” @300dpi (13200 x 10800 pixels) (400mb uncompressed)
Web images ( assuming 72dpi)
Screen size Pixels Print size
6” x 4” 432 x 288 1.3” x 0.95”
9” x 6” 648 x 432 2.1” x 1.3”
RAW files
Overview:
When a digital camera captures an image, it has to be
saved. The file is saved in a format which is
recognisable to computer software which then enables
that software to open the file.
Jpegs:
All digital cameras will save files in .jpg format. There
are many reasons for this. Jpeg files are widely used
and understood by programs and so can be opened on
any computer without specialist software. They are a
compressed file which mean that an image when saved
will typically take up about one eighth of the space that
an uncompressed file would take. This means that you
can store eight times the number of pictures on you
camera. In saving the file as .jpg all the setting on your
camera are used in the writing of the file. If you have set
black/white mode the image will be black/white. If you
set the white light balance or vivid colour, sharpening, or
any other parameters they will become part of that file.
They can not be undone. Because the image is
compressed some of the original image information
captured is 'thrown away' as the file is saved.
RAW:
A RAW file will not compress the information, and although it records the details as taken, it saves
the information captured without applying any parameters, you then have the option of using Raw
conversion software to reset the colour, tonal range and to a degree exposure. Because the file is
not compressed all the information captured is saved, nothing is discarded. By allowing you to
make decisions about the file parameters after taking you have much greater flexibility. A greater
tonal range is possible with a RAW file. There is no single RAW format, rather it is a generic name
that describes a a family of file formats. Most camera manufactures have their own formats, some
have more than one. This means that there are over 12 commonly used file types - all called
'RAW'. To open these files you need a program that will understand and process them enabling
them to be saved as one of the more common file types.
Option 1
The camera manufactures will provide software for their camera, which will usual not open files
from other cameras. The quality and usability of this software ranges from reasonable to almost
useless. Some manufacturers will charge you for this software.
Option 2:
This involves using 'third party software' written by someone other than the camera
manufacturer to open you files. Some are 'stand alone' allowing you to open, adjust and then
save the file before re-opening it in a manipulation program (eg. Photoshop). Other provide a
plug in to Photoshop or other programs.
Option 3:
Two programs will open most RAW files directly. Both Photoshop ( if you have a new camera
you will need a new version of Photoshop the RAW plug-ins are not backward compatible ) and
Gimp will open just about all RAW files in an addition interface ( Ufraw ) before loading them
into the main program. Although Photoshop offers some extra options, Gimp with Ufraw is an
excellent option. Profiles for your camera can be loaded for optimum compatibility. In the raw-
converter I adjust the white balance and exposure to ensure that the highlights are not 'clipped'
and leave everything else till the next stage.
Photoshop and Gimp open the raw image in an additional 'front end' to the programme, once
converted they are transferred into the main program and you can work on them as you would
any other image. My method is to first carry out any resizing, cropping and transforming. Next I
make colour and contrast adjustments (usually in levels or curves) and finally sharpen the
image if required. Individually adjusted images should then be saved into the appropriate folder.
Saving files as .tif will maintain the quality, but for photographic lab printing you will need to
save as .jpg.
Image Manipulation Equipment - Computers
Computers, Memory, Hard disks, Monitors, Scanners
Whilst almost any computer can be used for image manipulation, there are a number of factors to
consider.
The two main computer types are PC and MAC.
PCs originated with the IBM PC and although until
recently IBM still produced PCs most are clones using
the architecture originating from IBM but made by other
companies.
Over 90% of the worlds computers are PCs and most of
them run on the Microsoft Windows operating System.
AppleMAC computers now only have a market share of about
6% - mostly used for image manipulation and design. They
usually run their own operating system and there are no Apple
clones, so all MACs are Apple.
There is now no longer any advantage in using a Mac over a
PC, and Macs will cost you a lot more.
The Linux operating system will run on both platforms. About 5% of the worlds PCs run
Linux, and the proportion is growing. Linux is a free Unix-type operating system originally
created by Linus Torvalds with the assistance of developers around the world. Developed
under the GNU General Public License, the source code for Linux is freely available to
everyone.
You can build a 4ghz dual core AMD computer with 2gb ddr2 ram, 160gb hard disk, dvd-rw and 19inch
tft monitor - running Linux with Gimp for around £300
A Windows computer running Photoshop will cost £1000 and a similar spec Mac will cost £1700
A computer designed for image manipulation requires specifications that differ from one used for more
general office duties. You can e-mail and surf the internet on almost any computer, even the latest
versions of office programmes will run on a moderately specified computer, but to work with large
photographic images you require plenty of memory.
Memory - RAM
A typical new computer will be supplied with 512 mb of RAM. 1024mb (1gb) is the lower limit for serious
photomanipulation. To work comfortably and at speed 2gb is a better option, 3gb should be more than
enough for any 'stand-alone' PC.
(If you are running Windows Vista - 2gb would be the minimum requirement and you might need 4gb)
Storage - Hard Disk
To store images on the computer a reasonable size hard disk is required. In the past year the size of
hard disks on new computers has risen so most have plenty of space, but older computers might have a
problem. 80Gb should be large enough to accommodate the operating system, program files and work in
progress, but bigger disks will be needed is you want to store a lot of images. Photographs can be large,
one designed to print at A3 size will be about 50mb, 20 images will take up a Gigabyte of disk space.
CD / DVD-Writer
In order to 'back-up' and transport images a CD-writer is important, whilst there are other options, a Cd-
writer is the cheapest and most flexible choice. All computers have CD-Roms so storing images on CD
means that they can be seen on any computer ( a standard CD-player will not write CDs you need a CD
writer ). DVD writers are now cheap and can be used to back-up larger amounts of data. ( You will need
a DVD - writer )
Monitor
A good monitor is essential, professionals use large screens, but any size will
do so long as it is capable of giving a clear sharp picture.
Traditional CRT monitors are generally better than the cheapest LCD ones -
so if you want a flat screen - spend a bit more and get a good one.
Flatbed Scanners
Will scan flat artwork and photographs. They need not be expensive and
almost any of the scanners available will do a good job.
Some flatbed scanners with also scan from negatives, but generally these are
not as good as dedicated film scanners.
Film Scanners
Designed for film, are expensive, costing more than a basic computer. For the
same price you can buy a good digital camera.
Software and Image manipulation programmes
A digital darkroom consists of a computer loaded with an operating system and software designed to
work with images. Photo-manipulation software used to be specialised and expensive, now it is common
place and can be cheap.
Adobe Photoshop: approx £600
For many years Adobe Photoshop was the main programme used by designers and photographers to
control images on computer. Whilst Photoshop remains the most commonly used in the professional
field, many alternatives now exist, most work in a similar way to Photoshop.
Adobe Photoshop Elements: £70
Designed as an easier to use version of Photoshop.
Paint Shop Pro: approx £70
One of the first of the alternatives, now a very powerful programme.
The Gimp: FREE
Originally written for Linux but also available to run on Windows and Mac. Running on Linux this is my
programme of choice. It has many advantages over Photoshop.
Raw Converters: There are now a number of excellent 'Stand-Alone' raw file converters.
Favourites include: Ufraw, Xnview.
Why do you need these programmes?
There are many reasons why you might need to manipulate an image.
Cropping:
One of the most common tasks in digital imaging is to crop an image to change the shape or
proportions, or to remove unwanted parts on the edges of the frame.
Resizing:
Images are measured in physical size and
resolution.
For some uses an image might need to be a specific
size. Pictures can be re-sized and their resolution
altered for these purposes.
For printing on photographic printers the image
usually needs to be at the size required and at 300
dpi ( dots per inch ).
For use on a web site they need to be 72 dpi.
Colour Changes:
There are occasions when the colour of an image might
need to be changed, either to correct a problem, or to
deliberately alter the original. Brightness and contrast can
also be adjusted.
Graphic Effects:
These programmes can be used to alter images and turn
them in to graphics.
Graphic design:
Most photo-manipulation programmes can also be used to
create graphic design. They are a good choice for creating
posters and leaflets based on images.
Combining images:
It is possible to combine images to create a photo-collage
or copy elements of one image and place them on an other.
There are hundreds of other programmes available.
Image viewers and 'quick editors' are a vital part of the software collection.
These include:
Xnview, Gthumb, Digikam, Lightroom, Picasa, Aperture and many more
An image manipulation programme is essential to work with images, but you might also find a use for a
Desk Top Publishing programme if you intend creating publications. There is a wide choice of
programmes available ranging from professional software like Quark Express through to MS Publisher.
On Windows I like Scribus which is excellent running on all operating systems.
Some office programmes will also allow a small amount of design work to be undertaken - Open Office is
probably the best in this area.
Digital Imaging – File Preparation
Notes on file preparation:
Before you Start:
Work backwards from your intended finished
product.
If it will be a print:
What size print?
How will it be printed?
Use the equipment and methods needed
to achieve your goal
If you require a large print – bigger than 15”x10”
you will need a digital camera capturing a minimum
of 6 mega-pixels and ideally capable of RAW
capture.
Or you can shoot on large format film and scan
Shooting in RAW format will avoid jpg artifacts in
the image structure – this is important when making
big prints. Always keep you original file, save
copies to be worked on.
For printing through lab or on ink-jet printers without RIP software, resize the image to the print size at
300dpi. e.g. 15”x10” @300dpi
For large format printers, printing through a RIP you can size to half size (quarter area) at 300dpi. e.g.
for print size 24”x16” - size to 12”x8” at 300dpi.
The greater the level of interpolation , the lower the quality of finished print will be.
The larger your original file – generally the better the print will be.
For photographic lab printing save as .jpg - preferably embedded Srgb profile
( not progressive jpg )
For wide format printing save as .tif - preferably embedded Argb profile
Files should be flattened before saving for print
File sizes: A rough guide to file sizes.
From DSLR cameras
A 6 mega-pixel camera a 17mb file – approx. 10”x6.5”.
A 10 mega-pixel camera a 28mb file – approx. 12”x8”.
A 14 mega-pixel camera a 39mb file – approx.15"x 10"
Scanning 35mm film at 2400dpi will give a print size of approx. 12”x8”
Scanning 6x7 medium format film at 2400dpi will give a print size of approx 22”x19”
Digital Imaging – Aspect Ratio
Notes on file preparation:
Images from a 'compact' digital camera are usually in the format 4:3
Images from SLR digital camera are in the format 3:2
For standard lab prints compact camera images can only be printed full frame to 8”x6”
For standard lab prints SLR camera images can be printed to:
6”x4”, 7.5”x5”, 9”x6”, 12”x8” and 15”x10”
Other sizes eg. 10”x8” need to be cropped
From an SLR image you will loose part of the
image from the sides
Yellow area will be lost
A 'compact' camera image cropped to 6”x4” or
9x6” or 12”x8” or 15”x10” will loose part of
the image from the top and or bottom
Yellow area will be lost
For printing through lab or on ink-jet printers without RIP software, resize the image to the print size at
300dpi. e.g. 15”x10” @300dpi
For photographic lab printing save as .jpg - preferably embedded Srgb profile
( not progressive jpg )
Colour Management and Colour Profiling
This is the process of ensuring as far as possible that you work on your computer in the best way to
enable accurate results.
All equipment has a profile, a range of tones and colours that it can see and accurately reproduce. If you
monitor and or software are working in a different workspace to your printer, your printed results will not
reflect your image on screen, If your workspace set-up is different from mine I will see your images
differently on my screen.
In order to make it possible to exchange files, and print images on different printers a number of
'standards' have been created. If we all work within these standards we should obtain reliable results
across platforms and media.
Professional editing software such as Gimp or Photoshop allow you to work in a colourspace of your
choosing. this can then be embedded into the image allowing the printer you know your intended
preference. Set these up in the preferences menu.
A colour workspace defines the boundaries of the colours that are displayed or printed. Below are
examples of the two most common colour workspaces. The triangles represent the boundaries of the
colours that the workspace can display ( or print ). aRGB (Adobe RGB) and sRGB (Standard RGB) RGB
stands for - Red Green Blue the three colours of light used to create an image on a monitor screen. By
mixing these all colours are possible. equal amounts of each will produce white light. You will see that
the aRGB space is capable of showing a wider range of colours than the sRGB space.
ARGB SRGB
Why then not work always in aRGB?
In sRGB the S is for Standard, which is the assumed space for computer screens that are not otherwise
calibrated, also for the internet; importantly for photographers it is the colour space used in most
photographic labs. Therefore if you work in aRGB your images will not be seen on most screens as you
see them, nor will they print the way you expect from a lab. ( they will typically look flat or dull. )
Why then not work always in sRGB?
Some printing systems - notably high quality inkjet printers are able to print a wider range of colours than
those from an sRGB space, so if printing on these the usual preferred profile is aRGB - this will enable
you to take full advantage of the extra potential of the printer.
Colour Management Workflow
Calibration and Printing
Basics:
Set the colour workspace in your imaging program (Gimp, Photoshop
etc.)
Use Srgb if you intend to print mainly through colour lab on photographic paper
Use Argb if you intend to print mainly through high quality ink jet printers.
Your screen needs to be calibrated:
This means that it is set to a standard in terms of brightness, contrast and has a neutral colour balance.
The two ways to achieve this are:
1. Use a hardware calibration tool, eg. Spyder, ColorMunki
2. Use a calibration image and manually adjust the screen to match a print
a. Closed loop method ( not usually recommended ) is to print out an image with a full range of tones
and containing a grey scale, then adjust your monitor to match the print. In theory all subsequent prints
will then match your monitor. The disadvantage is that prints made elsewhere will probably be wrong.
b. The better option is to obtain a properly calibrated
image as both a professionally printed 'hard copy' and
as a file. Display the image file on your screen and
adjust your monitor to that print, then print the file
yourself. If the print you make is not the same as the
professionally printed example – ( and your monitor ),
then you need to adjust the printer settings to correct
the print.
Different monitors will give your different options on
adjustments
Most monitors will have adjustments on the monitor to
change brightness and contrast, some will let you
change the colour temperature.
Some operating systems will have software
adjustments for these settings, often depending on the
graphics card installed.
Printer settings:
Most printers / print software will allow you to adjust
the basic settings for brightness, contrast and colour
saturation – some on individual colours.
Paper settings:
When printing you will have the option of selecting
the paper type. All printers will have settings for
generic paper types – glossy, pearl, satin, matt,
watercolour etc.
Some will include specific papers eg, Epson
glossy.
Some paper manufacturers will offer a custom
profiling service, Typically you do a print on their
paper on your printer, sent it to them and they
return a printer profile.
This profile will need to be installed
( install will vary depending on operating system
but instructions will be provided ).
Adobe Photoshop and manufacturer supplied Paper Profiles:
Once the printer profile is installed and you have adjusted your image to the size and colour you require
then you can soft proof using the supplied profile.
When printing you need to use print preview under
options you will have the choice of using system printer
settings, or let Photoshop manage printing, select
Photoshop.
Using the profile for printing is simply a case of selecting
the paper type from the drop down menu. It is important
to use the other settings that you used when making the
print that you had calibrated, resolution etc, and that you
have not changed the brightness, contrast or colour
setting.
You do not apply the profile to the image in Photoshop, that should remain as Srgb or Argb. You only
use the profile for soft proofing (optional) and at the printing stage.
The Open Source Digital Darkroom
Or how to save £1000 and run legal software on your computer
For many years PC users have been forced to use the Microsoft Windows operating system
with all its faults. As a virtual monopoly this arrangement has made Bill Gates the richest
man in the world - at our expense. Mac users are tied to Apple software.
Adobe feel they have the rights to digital imaging.
Open Source Software is about breaking the stranglehold of large corporate companies.
The code to Open Source Software is made available to everyone, this means that it
is able to be developed in many countries by different individuals and companies for
the benefit of all.
Open Source Software is both freely available and
usually free from cost.
Many think that because it is free it can't be any
good, but there are many examples
Open Source software that is better than its
expensive counterparts. This talk shows
that it is not only possible but in many cases better
to use Open Source software to
achieve professional results in Digital Photography
You can opt for complete freedom with Open Source operating systems and programs
or simply pick and choose programs to run on your existing OS (Windows or OSX)
Topics Covered:
Overviews of:
Linux operating system and programs
Programs for image manipulation, word processing, web browsing etc.
Windows based software
Using alternative software in digital imaging production
Gimp, Rawstudio, Scribus and Open Office
Linux PC
Desktop PC, AMD Phenom 9500 2.2GHz
Quad Core, 4GB RAM, 640GB HDD,
DVDRW, Card Reader, nVidia GTS250,
Keyboard and Mouse £399.99
Adobe Creative Suite 4
Design Premium + £1436.35 Viewsonic VA2413WM 24" LCD Monitor
1920x1080 5ms 16:9 Black £139.67
Cost of owing for two years
£560.62
update Photoshop plus £150
Ubuntu Linux
Gimp (Image manipulation), Kdenlive (video
editing) Gthumb (Image viewer) Open Office
Access to to over 25,000 software packages
FREE
Cost of owing for two years
Updates Free
£4596.35
Which means that you can run 8 Linux
computers for less than the cost of 1 Mac.
WHY COLLEGES SHOULD NOT TEACH 'PHOTOSHOP'
OK a deliberately controversial statement.
As far as I know, no college specifically teaches students how to
use only one make or model of camera at the expense of all
others, so why do they insist on doing exactly that when it comes
to software packages?
I can only speculate that they are either unaware of the
alternatives or suffering from a degree of brainwashing.
Only use this camera!
As a trainer in the area of Digital Imaging I am constantly asked to teach 'Photoshop', it has become the
euphemism for image manipulation in the way that Hover is for vacuum cleaner. The difference is that
while nobody believes that that have to buy a Hover to clean their house, a surprisingly large number of
people think that have to have Photoshop to work on images.
A large part of this is down to the way the subject is taught in colleges and universities.
It seems that the people making the decisions in those establishments are unwilling to look beyond
Adobe products, and hence they are the only ones available to the students. Most colleges buy Apple
Macs although they could use PCs for half the price, because they mistakenly think they are 'industry
standard'. In the organisation where I work there are 11 computers used for digital imaging – running a
lab and a wide format printing system and not one of them is a Mac.
I am often asked by ex-students how they can 'get hold of' a copy of Photoshop.
Costing £600 it is not surprising that few ex-students can afford to buy it. Because of the conditioning
they receive most never think of the cheaper or free alternatives. It is quite possible to operate efficiently
and professionally using open source alternatives as I have been doing for the past 5 years.
I don't think that Adobe Photoshop should be banned, but I do feel strongly that they should not be
teaching 'Photoshop', rather they should be teaching DIGITAL IMAGING, good practice, techniques and
methods of working with digital images. How to crop and adjust images for print and screen use. They
should teach about resolution, file sizes, file types, the possibilities and limitations of resizing, colour
profiles and working with layers.
These processes can be carried out equally well using a range of software both proprietary and open
source, Photoshop is just one of the options. Part of the teaching process should be about looking at
possibilities and alternatives.
This is a call for inclusive training, teaching technique and opening up the process not taking a blinkered
approach in a one product only environment.
Education should be about opening doors not closing minds.
Becta is the Government's key partner in the strategic development and delivery of its information and
communications technology (ICT) and e-learning ...
Extracts from report published 2008
Schools and colleges can also do more to drive forward choice in the context of home-school use. We
recommend in Section 5 that, whenever possible, they should make students, teachers and parents
aware of the range of free- to-use products that are available, and how to access and use them.
We also recommend that schools and colleges should configure their systems in such a way as to
ensure that they do not place impediments in the way of learners, teachers and parents who use
alternative products (including free-to-use products) at home.
In our interim report we were clear that the ICT industry could play a part in facilitating greater choice of
office productivity software. We recommended that suppliers should facilitate choice to schools, ensuring
that computers for this market are shipped with a choice of office productivity suites on the desktop, and
that ideally this choice should include an open-source offering.
Our consultations with the industry confirmed that there are no significant reasons why this
recommendation cannot be delivered.
Recommendations
Whenever possible, schools and colleges should ensure that students, teachers and parents are aware
of the range of ‘free-to-use’ office productivity suites that are available and how to access and use them.
Schools and colleges should configure their systems in such a way that they do not place impediments
in the way of learners, teachers and parents who use alternative products (including ‘free-to-use’
products) at home.
www.becta.org.uk
http://www.becta.org/postnuke/index.php
Written using Open Office, running on Ubuntu Linux
Alan Winn