Bokeh

Bokeh is another style of photography which makes more conceptive and creative. Bokeh is from a Japanese word "boke" which means "blur" or "haze". Bokeh is the aesthetic quality of the blur produced in the out-of-focus parts of an image produd by a lens. The differences in lens aberrations and aperture shape caus some lens designs to blur the image in a way that is pleasing to the eye, while others produce blurring that is unpleasant or distracting. It occurs for parts of the scene that lie outside the depth of field. Photographers sometimes deliberately use a shallow focus technique to createimages with prominen out-of-focus regions.

Boken is often most visible around small background highlights, such as specular eflections and light sources, which is why is often associated with such areas. However, it is not limited to highlights; blur occurs in all out-of-focus regions of the image.

How to do Bokeh?

Now, the question is: how to do it? Here are some steps to do bokeh in photography:

• All lenses can create some kind of bokeh, but the really nice, drool-worthy bokeh is from prime lenses with large apertures or fast lenses, like f/1.4 and f/1.8. The larger the aperture (the smaller the number of aperture), a narrower depth of field and more bokeh. Usually, f/2.8, f/1.8, f/1.4 create the best results.
• You will want to shoot with the lens wide open, so you will want to use a shooting mode of Aperture Priority or Manual. Manual gives you the ability to choose both your aperture and shutter speed. Aperture Priority allows you to choose f/stop while the camera chooses the appropriate shutter speed for the exposure.
• To increase the likehood of visible bokeh in your photographs, increase the distance of between your subject and the background, or decreasing the distance of the camera and the subject. The more shallow the depth-of-field, or further the background is, the more out-of-focus it will be.

RAW vs JPEG

My first blog for Concept and Creative Photography. Rey Mendoza Jr. again is our professor in the second photography class. He is a great guy, really is. I expect in his class to be more adventurous than the previous class. Since this class will be more professional than the last class, I also expect to teach more advancing, expert-look, and professional photography, and also everything about photography. Alright! Let's move to the first topic: RAW vs JPEG.

When you shoot photos from DSLRs, do you wonder their formats? JPEG and RAW? Right? Alright! I'm going to explain those two and going to make difference for those two to which one is better to use.

I will explain RAW... RAW stands as "(stands as)" is also a common image file type but it is mostly used by multimedia professionals and professional photographers.

• RAW isn't a regular image file (it will require special software the view, though this software is easy to get).
• It is typically a proprietary format (with the exception of Adobe's DNG forma that isn't widely used yet).
• It have at least 8 bits per color (red, green, and blue (12-bits per X,Y location), though most DSLRs record 12-bit color (36-bits per location)).
• Uncompressed (an 8 megapixel camera will produce a 8MB RAW file).
• The complete (loseless) data from the camera's sensor.
• Higher in dynamic range (ability to display highlights and shadows).
• Lower in contrast (flatter, washed out looking).
• Not as sharp.
• Not suitable for printing directly from the camera or without post processing.
• Read only (all changes are saved in XMP file or to a JPEG or other image formar).
• Sometimes admissable in a court as evidence (as opposed to a changeable image format).
• Waiting to be processed by your computer.

I will explain JPEG... JPEG is a common image file type that mostly used by people in photographs. JPEG files can be directly printable.

• A standard format readable by any image program on the market or available open source.
• Exactly 8-bits per color (12-bits per location).
• Compressed (by looking for redundancy in the data like a ZIP file or stripping out what human can’t perceive like a MP3).
• Fairly small in file size (an 8 megapixel camera will produce JPEG between 1 and 3 MB’s in size).
• Lower in dynamic range.
• Higher in contrast.
• Sharper.
• Immediately suitable for printing, sharing, or posting on the Web.
• Not in need of correction most of the time (75% in my experience).
• Able to be manipulated, though not without losing data each time an edit is made – even if it’s just to rotate the image (the opposite of lossless).
• Processed by your camera.

These differences lead implicitly to situations that require choosing one over the other. For instance, if you do not have much capacity to store images in camera (because you spent all your money on the camera body) then shooting in JPEG will allow to capture 2 or 3 times the number you could shooting in Raw. This is also a good idea if you are at a party or some other event afterwhich you want to share your photos quickly and easily.

On the other hand, if capacity is not an issue at all (1 GB and 2 GB flash cards are getting cheaper every week) you might consider shooting in RAW + JPEG, just to cover all the possibilities. If you cannot or do not want to do any post processing, then you simply have to shoot in JPEG. Taking a picture in RAW is only the first step in producing a quality image ready for printing. If, on the other hand, quality is of the utmost importance (like when you are shooting professionally), and you want to get every bit of performance your DSLR can offer then you should be shooting in RAW.

SHOOTING IN RAW

If you do shoot in Raw, your computer rather than the camera will process the data and generate an image file form it. Guess which has more processing power: your digital camera or your computer? Shooting in Raw will give you much more control over how your image looks and even be able to correct several sins you may have committed when you took the photograph, such as the exposure.

To take advantage of this you will certainly need to use some software on your computer to process the files and produce JPEGs (or TIFFs). I have found the Camera Raw that comes with Adobe Photoshop CS2 to be very good at processing Raw files (even batch processing them), though everybody has their favorite (RawShooter has a lot of fans). When you load a Raw file using Adobe Photoshop CS2 the Camera Raw dialog will automatically pop up. Most of the time the automatic settings are fairly decent, but you have the chance to change the white balance, exposure, contrast, saturation, and even calibration of the red, green, and blue guns or correct for lens abberation – all lossless.

If the white balance is off I have found that it is much easier to fix using the Camera Raw screen than loading the JPEG and manipulating that – the end result is much better as well. The richness, detail (sharpness), color range and ability to adjust these settings end up being so much greater with a Raw file, even though what a Raw file looks like before processing is anything but rich and sharp. As a side note, all of my work that uses creative coloring was colored using the white balance settings in the Camera Raw dialog.

Part of the conversion to JPEG are sharpening algorithms and as a result, the unprocessed Raw file is less sharp. Two things can affect this, one is the brand of camera (Nikon cameras are generally considered sharper, but this is not true across all models) and the other factor is the user settings for sharpening in the camera. Loading a Raw file in a program such as Adobe Photoshop CS2 will automatically apply white balance, sharpening, constrast, brightness, etc… and can even batch process Raw files. I often use this feature as a first pass and then go back and adjust the settings if needed. This is espeacially helpful because even if I did everything correct in camera when I took the photo and my conversion software was able to use the full processing power of my desktop computer, the conversion to JPEG could still trick the camera or my computer and only my eye can produce the correct while balance, constast, brightness, etc…

SHOOTING IN JPEG

When you shoot in JPEG the camera’s internal software (often called “firmware” since it’s part of the hardware inside your camera) will take the information off the sensor and quickly process it before saving it. Some color is lost as is some of the resolution (and on some cameras there is slightly more noise in a JPEG than its Raw version).

The major actor in this case is the Discrete Cosine Transforamtion (or DCT) which divides the image into blocks (usually 8×8 pixels) and determines what can be “safely” thrown away because it is less perceivable (the higher the compression ration/lower quality JPEG, the more is thrown away during this step). And when the image is put back together a row of 24 pixels that had 24 different tones might now only have 4 or 5. That information is forever lost without the raw data from the sensor recorded in a Raw file.

The quality of a JPEG taken with a DSLR will still be far better than the same shot taken with a top-of-the-line point-n-shoot camera that is as old as your DSLR. If your camera can burst (shoot continuously for a few seconds) you’ll actually be able to shoot more shots using JPEG than Raw because the slowest part of the whole process is actually saving the file to your memory card – so the larger Raws take longer to save.

Digital Panorama

There are a lot of awesome things you can do with photography. This really gained my interest. Have anyone knows "panorama"? Panorama is a very wide view or representation of a physical space in painting, in photography, and in everything else that makes art. If in the past days that this can only be done with painting just by sketching on a wide piece of canvas. But now, it can be done in photography. How? Alright! I will just tell what have I learned. But first, here's an example:

360 degree panorama picture of the center courtyard of the Sony Center at the Potsdamer Platz in Berlin. This picture was calculated from 126 individual photos using autostitch.

The photo above is an example of a panoramic image. It has a very long way to create one. Ok! Here goes:

1. Equipment: Have a DSLR (Digital Single-Lens Reflex) camera that you depend most and you proud most because of your career. Let me explain about lenses: Those lenses having 8-24mm, those are wide lens. Those lenses having 24-70mm are medium. And, those lenses having 70-200mm or more are telephoto. Wide lens are pretty good for panoramic shots. Panoramic shots can be done in any lenses as long as you have instincts in photography. And also, have multimedia/high definition gaming class PC that runs stitching editing programs like Adobe Photoshop CC's Photomerge (explained later).
2. Adjustments: Aperture is very important to for making panoramic shots. f/16 is mostly used for panoramic shots because it is truly the middle of the two limits of aperture. If anything is set lower than f/16 (like f/22) causes chromatic aberation and simply called vignette.So set the most middle aperture as most middle as possible. The equity is in there. In your DSLRs, set the mode into "Av", that's Aperture priority. Consecutive shots must be done in manual mode "M" because staying in "Av" might alter exposures.
3. Techniques: Did you know that the images must be stitched afterwards? Well, editing is required. When you are about to take another shot in another angle. Leave a space similar to the right end of the first one and the left end of the second one. Overlap by 20-50%.
4. Formats: The image must be large JPEGs or RAWs.
5. Lost?: If you don't know where your shots begun or ended, take a shot as a marker.
6. Editing: Use stitching software like Photoshop's Photomerge, Hugin, and Autopanogiga.

Stop Motion

Do you even watch movies and observe the flow's motions? I'm both analytic and creative person so I do observe motions while watching movies like how much the frames are shown in every second. Let's talk about Stop Motion. What is stop motion anyway? Stop motion is a kind of movies that animates objects that really do move when watched. Stop motion is a form of animation. Stop motion is a traditional animation from my point of view. Here is a sample of stop motion:

That's my video that conceptualizes stop motion. I just drew a lot of sketches on a bunch of pieces of paper and capture them one by one. Now, how to make stop motions anyway? Every frames are made of pictures. Some video editing to make a single picture move in seconds. In video editing, you also need to make a picture move with a certain less than 1 or 0.75 seconds per picture. If you are using a camera, the camera must be still and untouched its position (if you want to have one angle). Having tripods is best for making still images (and videos). And you just need to place and move some objects used for stop motion. Anything is appreciated for making one. Clay (playing dough) is the best one for making stop motions. One thing that mostly costly making stop motions is time management. It takes a lot of time to achieve one. And, you really do a lot of hardwork.

Wallace and Gromit

One example of a stop motion/clay animation done is the Wallace and Gromit series created aand produced by Nick Park of Aardman Animations. It is the best one I've seen so far. Thus, it is really amazing. Living figures are in clay (like what have I said earlier that clay is the best for making stop motions).

Chicken Run

Another example is Chicken Run also done by same creators and producers of Wallace and Gromit. You might find out that it is not stop motion and clay animation. It is really made with stop motion but the flow is smooth. About the clay usage, it is very clean when built. Mindblowing, isn't it? People are just glad that there are still people doing amazing things such like these.

Stop motion is one of the animation styles you can do rather than using some 2D and 3D digital animation programs. This one is most likely a traditional animation and a longer time to take. Doing the good work is appreciated. The world was once empty and filling some amazing things.

[Basic Photography] Food Fun

Taking pictures of nice food is fine as long as it has beauty on it. That's creativity one of these days: with beauty. Really! It is ever since the world is created... HAHA! Enough for wisdom and shit stuff. Here are my five shots. Enjoy! (caption format: [flash settings] - [shutter speed] - [aperture] - [ISO] - [white balance])

No Flash - 1/125 sec - f/8 - ISO 800 - Auto White Balance

No Flash - 1/125 sec - f/8 - ISO 800 - Auto White Balance

No Flash - 1/125 sec - f/8 - ISO 800 - Auto White Balance

No Flash - 1/125 sec - f/5.6 - ISO 3200 - Auto White Balance

No Flash - 1/125 sec - f/8 - ISO 800 - Auto White Balance

Display Resolutions and Frame Rates

DISPLAY RESOLUTIONS

HERE IS THE FIGURE OF DIFFERENT DISPLAY RESOLUTIONS

• Standard-Definition (SD)
• 480i (NTSC-compatible digital standard employing two interlaced fields of 243 lines each)
• 576i (PAL-compatible digital standard employing two interlaced fields of 288 lines each)
• Enhanced-Definition (ED)
• 480p (720 × 480 progressive scan)
• 576p (720 × 576 progressive scan)
• High-Definition (HD)
• 720p (1280 × 720 progressive scan)
• 1080i (1920 × 1080 split into two interlaced fields of 540 lines)
• 1080p (1920 × 1080 progressive scan)
• Ultra-High-Definition (UHD)
• 2160p (3840 × 2160 progressive scan)
• 4320p (7680 × 4320 progressive scan)
• 8640p (15360 × 8640 progressive scan)

FRAME RATES

• 24p is a progressive format and is now widely adopted by those planning on transferring a video signal to film. Film and video makers use 24p even if they are not going to transfer their productions to film, simply because of the on-screen "look" of the (low) frame rate, which matches native film. When transferred to NTSC television, the rate is effectively slowed to 23.976 FPS (24×1000÷1001 to be exact), and when transferred to PAL or SECAM it is sped up to 25 FPS. 35 mm movie cameras use a standard exposure rate of 24 FPS, though many cameras offer rates of 23.976 FPS for NTSC television and 25 FPS for PAL/SECAM. The 24 FPS rate became the de facto standard for sound motion pictures in the mid-1920s.[7] Practically all hand-drawn animation is designed to be played at 24 FPS. Actually hand-drawing 24 unique frames per second ("1's") is costly. Even in big budget films, usually hand-draw animation is done shooting on "2's" (one hand-drawn frame is shown twice, so only 12 unique frames per second)[10] and some animation is even drawn on "4's" (one hand-drawn frame is shown four times, so only six unique frames per second).
• 25p is a progressive format and runs 25 progressive frames per second. This frame rate derives from the PAL television standard of 50i (or 50 interlaced fields per second). Film and television companies use this rate in 50 Hz regions for direct compatibility with television field and frame rates. Conversion for 60 Hz countries is enabled by slowing down the media to 24p then converting to 60 Hz systems using pulldown. While 25p captures half the temporal resolution or motion that normal 50i PAL registers, it yields a higher vertical spatial resolution per frame. Like 24p, 25p is often used to achieve "cine"-look, albeit with virtually the same motion artifacts. It is also better suited to progressive-scan output (e.g., on LCD displays, computer monitors and projectors) because the interlacing is absent.
• 30p is a progressive format and produces video at 30 frames per second. Progressive (noninterlaced) scanning mimics a film camera's frame-by-frame image capture. The effects of inter-frame judder are less noticeable than 24p yet retains a cinematic-like appearance. Shooting video in 30p mode gives no interlace artifacts but can introduce judder on image movement and on some camera pans. The widescreen film process Todd-AO used this frame rate in 1954–1956.[11]
• 48p is a progressive format and is currently being trialled in the film industry. At twice the traditional rate of 24p, this frame rate attempts to reduce motion blur and flicker found in films. Director James Cameron stated his intention to film the two sequels to his film Avatar higher than 24 frames per second to add a heightened sense of reality.[12] The first film to be filmed at 48 FPS was The Hobbit: An Unexpected Journey, a decision made by its director Peter Jackson.[13] At a preview screening at CinemaCon, the audience's reaction was mixed after being shown some of the film's footage at 48p, with some arguing that the feel of the footage was too lifelike (thus breaking the suspension of disbelief).[14]
• 50i is an interlaced format and is the standard video field rate per second for PAL and SECAM television.
• 60i is an interlaced format and is the standard video field rate per second for NTSC television (e.g., in the US), whether from a broadcast signal, DVD, or home camcorder. This interlaced field rate was developed separately by Farnsworth and Zworykin in 1934,[15] and was part of the NTSC television standards mandated by the FCC in 1941. When NTSC color was introduced in 1953, the older rate of 60 fields per second was reduced by a factor of 1000/1001 to avoid interference between the chroma subcarrier and the broadcast sound carrier. (Hence the usual designation "29.97 fps" = 30 frames (60 fields)/1.001)
• 50p/60p is a progressive format and is used in high-end HDTV systems. While it is not technically part of the ATSC or DVB broadcast standards yet, reports suggest that higher progressive frame rates will be a feature of the next-generation high-definition television broadcast standards.[16] In Europe, the EBU considers 1080p50 the next step future proof system for TV broadcasts and is encouraging broadcasters to upgrade their equipment for the future.[17]
• 72p is a progressive format and is currently in experimental stages. Major institutions such as Snell have demonstrated 720p72 pictures as a result of earlier analogue experiments, where 768 line television at 75 FPS looked subjectively better than 1150 line 50 FPS progressive pictures with higher shutter speeds available (and a corresponding lower data rate).[18] Modern cameras such as the Red One can use this frame rate to produce slow motion replays at 24 FPS. Douglas Trumbull, who undertook experiments with different frame rates that led to the Showscan film format, found that emotional impact peaked at 72 FPS for viewers.[citation needed] 72 FPS is the maximum rate available in the WMV video file format.
• 120p (120.00 Hz exactly) is a progressive format and is standardized for UHDTV by the ITU-R BT.2020 recommendation. It will be the single global "double-precision" frame rate for UHDTV (instead of using 100 Hz for PAL-based countries and 119.88 Hz for NTSC-based countries).
• 300 FPS, interpolated 300 FPS along with other high frame rates, have been tested by BBC Research for use in sports broadcasts.[19] 300 FPS can be converted to both 50 and 60 FPS transmission formats without major issues.

Lighting Patterns for Portraits

1.) Split Lighting

SPLIT LIGHTING

Split lighting is exactly as the name implies – it splits the face exactly into equal halves with one side being in the light, and the other in shadow. It is often used to create dramatic images for things such as a portrait of a musician or an artist. Split lighting tends to be a more masculine pattern and as such is usually more appropriate or applicable on men than it is for women.








2.) Loop Lighting

LOOP LIGHTING

Loop lighting is made by creating a small shadow of the subjects noses on their cheeks. To create loop lighting, the light source must be slightly higher than eye level and about 30-45 degrees from the camera (depends on the person, you have to learn how to read people’s faces).









3.) Rembrandt Lighting

REMBRANDT LIGHTING

Rembrandt lighting is so named because the Rembrandt the painter often used this pattern of light in his paintings, as you can see in his self portrait here. Rembrandt lighting is identified by the triangle of light on the cheek. Unlike loop lighting where the shadow of the nose and cheek do not touch, in Rembrandt lighting they do meet which, creates that trapped little triangle of light in the middle. To create proper Rembrandt lighting make sure the eye on the shadow side of the face has light in it and has a catch light, otherwise the eye will be “dead” and not have a nice sparkle. Rembrandt lighting is more dramatic, so like split lighting it creates more mood and a darker feel to your image. Use it appropriately.



4.) Butterfly Lighting

BUTTERFLY LIGHTING

Butterfly lighting is aptly named for the butterfly shaped shadow that is created under the nose by placing the main light source above and directly behind the camera. The photographer is basically shooting underneath the light source for this pattern. It is most often used for glamour style shots and to create shadows under the cheeks and chin. It is also flattering for older subjects as it emphasizes wrinkles less than side lighting.

MMA2-0002 - Capturing the Model

There is no fancy presentation, deal with it. ;)

©2014 Raileys Aguilar

[Basic Photography] Exposure

The first way on learning Photography is to learn the light of the scene you want to shoot. The way to capture the light is called "Exposure". Exposure, in terms of photography, means the amount of light per unit area reaching the photographic film, as determined by shutter speed, lens aperture, and scene luminance. In digital photography "film" is substituted with "sensor". Exposure is measured in lux seconds, and can be computed from exposure value (EV) and scene luminance in a specified region.

SHUTTER SPEED is the time of the shot progresses. The less the shutter speed is, the more the focus and less shake of the picture can be, and the less the light is. 1 sec, 1/2, 1/4, 1/125, and 1/250 are values for measuring shutter speed. the APERTURE is the means of the size of the lens. The more the larger the aperture is, the more the subject will be seen widely. f/4, f/5.6, and f/8 are values for aperture. ISO is the sensitivity of the sensor to the light. The more the ISO is, the more the brighter the captured image is. 400, 800, and 3200 are values for measuring ISO.

#12 - Final Project

All I can say is this is my final blog for this subject. What will I tell here is my three designs for the final project. However, one will be chosen and to be printed soon. So here:

Final Design #1

Vectoring, Rule of Thirds (maybe), Typography, Blending Modes

Final Design #2

Vectoring, Rule of Thirds (maybe), Typography, Blending Modes, Layer Mask

Final Design #3

Vectoring, Rule of Thirds (maybe), Typography, Blending Modes, Kuler

#11 - How to Save Photoshop PDF in Photoshop

#11 - How to Save Photoshop PDF in Photoshop

Such security. 11th day in Principles of Design and Color Theory. What I've learned today is about saving Photoshop PDF Files in Photoshop. Well, first of all, what is PDF? PDF stands for Portable Document Format. PDF is a file format used to represent documents in a manner independent of application software, hardware, and operating system. From my point of view, PDFs are document files but not able to be edited. PDFs are mostly save files from word, excel, and powerpoint to avoid editing the document. So then, Photoshop has the ability to save into Photoshop PDF file for printing purposes.

What am I writing is how to save one Photoshop PDF file. When the first time I've learned and did about this, it is a lot easy as long as you have high comprehension of learning a lot of things beyond you.


#1

Let's start with the Photoshop file I'm going to save in Photoshop PDF. Why am I starting this in this way? It is because everything starts from the most simple and most beginning of a process and, of course, it has to end in the most simple and most end of a process...


#2

To save this as a Photoshop PDF file: Go to File, then Save As...


#3

In the Format, click and check Photoshop PDF so you'll save the file in Photoshop PDF file. Then, hit Save...


#4

Hmm... after you hit Save, you'll get to encounter and open this dialog box. It says: "The setting you choose in the Save Adobe PDF dialog can override your current settings in the Save As dialog box." It seems that when we save it with the settings in the Photoshop such as color working space assigned, it can override the current settings from the process during the Save As. So, this is just a warning. So then, hit OK. You may check the Don't show again. If you do, after hitting Save from the process in Save As, this dialog will never appear again. It is useful if this dialog annoys you...

#5

Then, you'll get in this part. This part tells you the other settings for saving into Photoshop PDF file. Adobe PDF Preset tells you how much quality will you save the file. It is better in high quality but costs a lot of time and space. Compatibility does the saved PDF will open in a program called Acrobat which opens PDF files. In it, it shows options which Acrobat version---4, 5, 6, 7, and so on--- will support the PDF file. Example, if you select version 5, it will open in 5 or higher versions but it will not open in 4. Options will help you on how previewing the PDF file. All of these stuff are in General section...

#6

In Compression section, this compresses the file into an assigned compression, resolution, quality. With the settings above, you get to save a PDF file into JPEG compression, in maximum quality, and with a 300 pixels per inch resolution...

#7

In the Security section, you'll get to set a password for the PDF file to be opened and to be printed. If you want to require one, just do it. If you don't want to, just do it. This helps you to have security in your PDF file. In the Permissions tab, this sets you if there are printing and changes permissions if they are allowed or not. If you want to print it but still with a password, first make a password then make permissions for printing and make sure the Printing Allowed is NOT "none"...

#7

The rest: Summary section just summarize the PDF file you want to save from the setting you've used in the first four sections.If you're sure with the settings, hit Save PDF...

#8

Last one... if you get to encounter this dialog, this tells you that this editing capabilities is incompatible with earlier versions of Photoshop. In earlier versions, you must open the PDF as a Generic PDF (not as a Photoshop PDF)... just continue (hit Yes) and never tried no...

#8.5

If you set passwords, you'll get to confirm the passwords before saving.

Want to try this opening this? Just download the link below:

http://docs.google.com/file/d/0B7uhkEwN-_zBRkRnaWFrazU4UTQ/

Passwords:

Document: rx0987

Permissions: print0123

Printing is enabled but changes are unabled.

Sources:

http://en.wikipedia.org/wiki/Portable_Document_Format

#10 - Vanishing Point

The 10th Day in Principles of Design and Color Theory

What I've learned today is about Vanishing Point in editing images in Adobe Photoshop. It is all about perspectives during editing. You can insert a lot of images and the place will depend on the object's perspective. Example: You have a picture you want to edit with the walls appear at the left, right, and front of you, and this includes the ceilings and the floor. Then, you'll have to use Vanishing Point to get the perspectives of the walls, the ceiling, and the floor. Then, inserting images during the vanishing point is possible. So, that makes every images inserted is according to the perspective of the walls, floors, and ceilings. It is a lot impressive to me. And, here's my work for Vanishing Point:

"The Vanishing Exhibit"

"Vanishing" It is because that I used Vanishing Point filter tool in Photoshop. "Exhibit" It is because it is an art exhibit anyway. The things I did in this edit: Mainly, I replaced the original artworks in the original photo with my artworks, and also my friend's artworks. I used Vanishing Point to find the perspectives of the front wall, the left wall, and the right wall. Then I replaced and replaced. I just left the reflections in the floor. This edit can be done in Move Tool. But, I used Vanishing Point to find and edit this with perspectives.

#09 - Typography

This is the ninth day in Principles of Design and Color Theory. What I've learned today is about Typography. It is kinda bit surprising that there are a lot of parts of typography such as ascender, descender, base-line, etc. And I've remembered the Serif and the Sans Serif just like back in the 1st semester in Comm. Tech. here's my work for typography:

"Do not conform to the pattern of this world, but be transformed by the renewing of your mind. Then you will be able to test and approve what God's will is-His good, pleasing and perfect will."
--- Romand 12:2

What I did is in some lines: I kern them into the margins left and right. The others are resized. The common words are resized.

#06 - Multimedia File Types and Vectors

The 6th day in Principles of Design and Color Theory.

Multimedia File Types

Images

There are a lot of  file types for images: JPEG, PNG, GIF, PSD, TIFF, BMP, etc. These are commonly used.

• JPEG: Joint Photographic Experts Group. JPEG is commonly used for photography and method of lossy compression. It uses 16.8 million colors. It loses quality but in a smaller file size.
• PNG: Portable Network Graphics. PNG is a raster graphics file format that supports lossless compression. It also uses 16.8 million colors. It stays in its quality but having a large file size.
• GIF: Graphics Interchange Format. GIF is commonly used for animation and it is also known as the moving picture. But it uses 256 colors.
• PSD: Photoshop Save File/Photoshop Document. PSD is commonly used for Adobe Photoshop in editing images/animations by layer to layer. This can be the best file type in editing pictures but only supported in Adobe Photoshop.

Videos

There are also a lot of file types for videos: MP4, AVI, 3GP, MOV, MPEG, WMV, FLV, etc. These are also commonly used for videos.

• MP4: Moving Picture Experts Group 4. MP4 is one of the most common video file types. This is the video counterpart of JPEG. The video has the same quality as JPEG and is lossy. MP4 are also in smaller file size.
• AVI: Audio Video Interleave: AVI is also one of the most common video file types. AVIs are commonly used for burning into DVD recordable disks. It has a right quality, maybe loseless, but in a very high file size that can exceed gigabytes (GB).
• 3GP: 3GPs are commonly from mobile phones. However it has a small file size and low quality but the size and quality is depending on the phone's camera.

Music

MP3, AAC, and OGG are sampled for music file types. MP3 are best known for music types and very most common. Music file types are also embedded in video file types so that makes the video mixed up with music. Without a music, the video doesn't play any sounds just visuals.

Vectors

I've also learned about vectors. Not the vectoring of faces of figures. It is about the shapes in Photoshop. Vectoring is mostly in Adobe Illustrator than Photoshop. In Photoshop, they are just the shapes and texts. Here one of my work for vectoring:

#08 - Kuler and Blending

Kuler

Here's my work for Kuler. It is very impressive using analogous of blue properties with a cool title for such cold concepts.

Colors used:
#2C63E3
#2832D9
#1D7CCC
#15B7E3
#14D9D2

Blending

Here's my work for blending modes. The combination is the two pictures below:

Layer 1

Layer 2

In layer arrangement, Layer 2 is above from Layer 1. I used the blending modes for Layer 2. I used the Linear Light blending mode. So that makes the Layer 2 fused with Layer 1,

#07 - Examining Forms of Brushes and Texts in Pen Tool

Raileys presents:

"Beware of Doge"

TADA!!!

I just combined the things I've learned for today and Such edit Hehe! Lol! ... Well, I've learned about the Brush settings in Adobe Photoshop. Well, I've explored a lot and learned about sizes, hardness and the other settings for the appearance of the brush. It is a lot useful for my experiments in Photoshop in these days. And I've also learned about Text tool through pen tool. So, I've made a triangular texts like what I did to the picture above.

Here's one for blending modes: