Q&A: Resolution and File Formats

 

Adobe® Photoshop® Intensive

 

Lesson Info

Q&A: Resolution and File Formats

Question from c k l and also ps one thirty nine photography what's the difference between saving a j peg as baseline standard baseline optimized and progressive format fabulous question so he's talking about the different options you get in a save as jpeg dialog box all those options all they really matter is how that images displayed when it's being downloaded in your browser the different options will make it load line by line pixel by pixel or some of them will say it's basically telling the browser hey low this image a little bit of a time and show it is it's happening or just wait we've got the whole darn thing so that's a question from elvis castillo does the png file always automatically save as a transparency regardless if you have a background associated with the image or only if you save the file on a transparent background that's a really good question in the I believe it saves the transparency if it sees the transparency in the safe for web dialog box which we're going to l...

ook at here in a little bit you do have an option to turn on or off the transparency but if he just used the file save as command and you get and you choose ping from the file format then you don't get that oh does it have a transparency question which leads me to believe if it sees transparency it will be transparent another ping question from will sixty one well a ping hold its values when importing into illustrator yes great question will peeing hold its quality I'm guessing if you important into illustrator yeah any of these file formats you know can be read by any of the creative suite applications and they're not going to change you know opening in one versus the other colors my shift but that's our illustrator thing open bubbles studio would like to know when you save a file it asked what quality want to save the file say I want to save in high rez there are three number choices examples nine through eleven what's the difference we're actually gonna look at that when we pop back into photoshopped when we're in the image size dialog box okay cool we'll get that and I think they've got a question back so with the file size in mind I like I say that tiff and I think it was over one hundred megabytes what what is your choice to minimise those file sizes when you're saving I wouldn't use tiff really I mean what are you do you have your son my telling that you that they needed tio or somebody that was in photography schools told me I shouldn't be saving us j picks I should be saving his tiffs and so I gave it a try I do worry when I'm saving everything as j picks that all my adjustments could be ruined over time, so maybe ping is what I need to go to those artists huge then well actually you will be saving your file is a native photoshopped document so there's really no need tio to say that I was a tiff unless you need to send it somebody that rick choirs that file format because if you've got that photo shop document hanging around, you can print straight from that and that way you've got all of your edits right there in layers so you could, you know, find teen and tweak them so I would keep your original j peg if that's what you're shooting, you know somewhere and then once you start editing that, then you'll have that psd and you always keep those ps d's around so I think that I think you can eliminate the tiff step, but probably when he gave you that advice that was, you know, the great advice for that time. So this is a bit of ah personal workflow question from net ingenuity do you have a particular naming convention for your image revisions? Oh, yes, I do, but I'd have to kill you if I told you kidding. Yes, I when I asked this such a great question great, great question, so when I'm working with images, I will put descriptors in that name such as let's say that I did a photo shoot in paris, okay, so that image might be named off, you know, when I imported into my shop where it might be paris underscore one, and it might also have the date tacked on. Okay, once I opened that up in photo shop, I keep that name, but I also will put the for version v one ok at the end of the file name, and then if I've done any cropping or any kind of specific size or color treatments for that photo, I might also put that in the file name. So for example, if I made a duo tone, which we're going to do out of one of those shots, that might be paris and their score one with a date underscore, um, and you don't have to use that underscores on the mac, I get used to them because talking the pc audiences as well, then I might put v one and do at home, and if I'm preparing this for somebody else and I have to go into another color mode for their printing process, I might also add that information you know, do a tone seemed like a something like that, so I do add great question, I do add a few little descriptors, so v one and then any kind of color effect that I've done tio dio tone b w for black and white and then if I've had to change the color space, then I'll also put that in there and you can also add sizes if you want you could put eight if it's an eight by ten that you've done for a client you could put eight x ten in the file name and that can kind of help you quickly go to the one that you really need so it's a great idea to bury in clues in those final names keep all the layers open and you say that even those various versions idea I don't ever flatten my images because I'm just I'm chicken it just boils down to me being a chicken because I don't what if I need to go back? Yes, I don't ever flatten it and if you need to send somebody flattened filed the sheer act of saving it in another format such as j peg that flattens it so that j peg that you sent to your local camera store or your online lab that's flattened question from suji save j peg question can you explain the safer web and devices and white differs from a regular save say that's you just get more options basically you get more options in a safer way of dialog box and we're gonna look at that a little bit later today question from edwin iq can you again explain the difference between dp I and p p I with a big please that's a good one okay, so pickles per inch okay stands for how many pixels air shoved into a square inch of your image ok khun b x number dots per inch pertains to printers because printers actually form the image with does whether that's a ninja and it's spraying the dots or if it's a printing press with a dot pattern there's dots involved okay, so that's for the two terms come from you're supposed to use p p I for anything that is still on screen so anything that we're talking about throughout this class is going to be p p I printers use d p I for dots per inch and because so many people don't understand what the heck resolution is including hawaii twenty graphic designers none of which I'll name everybody uses the terms interchangeably so dp I now is kind of the overall thing for all of it when they really mean p p I very rarely would you ever use dp I really everything is p p I so pixels per inch versus dots branch one is for screen and one is for the printer but everybody uses them interchangeably. I just want to tell you a comment from malvina photo who said just to say thanks to lisa love the way you explain it's perfectly clear and uh she said you have a very relaxing voice that makes photoshopped less scary uh thank you appreciate it you have a question from nick ray who would like to know if you work with sixteen or a bit files and since five oh very good question so the question is, do I work with sixteen versus eight bit files? All that is all that means is how many colors are included in your image? Sixteen bits can handle aa lot more colors a greater dynamic range of colors ok in your image eight that can hold fewer colors ok there's a whole lot of math and exponents involved and I won't bore you with all that you can shoot sixteen bit images I think raw images or sixteen bit by their very nature because they hold, you know, buckets and buckets of quality and color information. There are a lot of things and photoshopped that you can't do on sixteen bit images, so if you have shot something like that and you're trying to run a filter, what having and photo shot you may be prompted to reduce the amount of colors in your image it's nothing that I can appreciate the color difference for, so I use a bit in all of my editing that way I don't run into any problems in photo shop, but if you have a more discerning palate and you really can print out a sixteen bit image and compare it versus an eight bit and you can see the color difference then you might want to work with sixteen bit okay but basically it's just more colors versus a little bit fewer colors but you've got millions of colors in the eight bit room so it's kind of ah um yeah it's a personal thing so I use eight yes are you going to get into color space? Not really that's a great question we're not really going to get in the color space. Everything that we're going to be doing in this class is rgb which means your images your comprised of various combinations of rid and green and blue versus thie print color mode anything that goes to a professional printing press like newspapers and magazines and things like that I like to use the color space called c m y que which stands for science magenta yellow and black and these days with digital presses used to be a big conundrum which space do you work in rgb versus seemed like a well, it always depends on where that image is headed. But these days with digital printing presses the conversion process is handled inside of those machines. The rip okay is one of the machines that your image will go to you on a digital press. It has a much better job of converting colors into whatever it needs it could be seen like a or it could be seen like a plus, plus there's all these wonderful color modes out here, so basically, you just asked whoever you're giving the image to what they want and it's just far more prevalent, that we'll be dealing with rgb than seem like a a couple of questions about flattening images and the question first question from evelina monroe, I've always learned that flattens the image, helps the file size, is that true? And also makes damage crisper because the files are merged or flattened down? Well, well, the first part's true, the same parts, not so basically, we've been talking a little bit about players, even though we haven't really defined what the hell they are yet, but when you, you can have as many layers as you want in a photo stop document, ok? And you can think of them as you saying, hey, photo shop, take this color correction that I'm about to do this image, but yeah, don't make it happen to the original image put it in its own little space over here, so if I don't like it, I can get rid of it, or if it's too strong, I might lower its intensity a little bit, you know, so that's a brief version of what layers are the more layers you haven't photoshopped document the bigger the file size will be so flattening will indeed decrease the file size of the file but you also bake all of your changes in and they become unchangeable or you know, changeable with a heck of a lot of work so I don't ever flat in my files because like I said earlier, if I need to send somebody a jape iger when these other formats the flattening is inherent in changing file formats it just happens so I always keep that psd in all of its layer glory just in case I need to change something I've done or undo something that I've done okay, so I don't ever flatten and flattening does not make your image sharper it doesn't change the quality of the pixels at all it just compresses all of your layers into a single layer great will you answer the second question? Okay, that answer thanks question from sml who asked if I open and at a jpeg files and save as a j peg but closed the original j peg with no save changes and my right to think the original j pedophile will not be deteriorated, right? Yeah, the deterioration or the quality degradation happens when you save that j peg as another j pig your original jfk as long as you're not saving over the same file name, you're not touching that original j peg ok, and that's, the beauty of when you start, when you start working with that file and photo shop let's, say it's, a j peg straight from your camera. You open it up, you start messing around, you save it is a psd. The act of saving it is a photo shop document safeguards that original because it has a different finally. So you've built in kind of a backup system for yourself, just by that one at.

Class Description

In this special photoshop tutorial, you'll dig into Adobe® Photoshop® CS5 with Lesa Snider, author of Photoshop® CS5: The Missing Manual. There is so much to cover in Adobe® Photoshop® CS5 that we need almost a week to cover everything. In this special 4-day workshop you'll dig into Adobe® Photoshop® CS5 with Lesa Snider, internationally acclaimed instructor and author. Lesa is informative yet entertaining with a unique way of explaining difficult concepts so you understand the "why" behind the "how". Get ready to spend a fun, high-energy week digging into the power of Photoshop.


Software Used: Adobe Photoshop CS 5.1

Lessons

1Introduction: Nitty Gritty Basics + Layers 2Workspace Overview 3Q&A: Workspace 4The Truth About Resolution and File Formats 5Changing Resolution Without Changing Quality 6Q&A: Resolution and File Formats 7Resizing with the Crop Tool 8Cropping with the Ruler Tool 9Resizing with Content-Aware Scale 10Resizing for Print/Web 11Layers and Layer Types 12Duplicating, Moving, and and Aligning Layers 13Q&A: Layers 14Creating Reflections 15Layer Alignment Tools 16Simple Slimming Technique (Resizing Layers) 17Colorizing a Black and White Image 18Creating a Solid Color Fade with Fill Layers 19Layer Masks: Hand Painted Image Collage 20Layer Masks: Gradient Mask Collage 21Layer Blend Mode Collage (Include Load Images as Stack) 1Using Selections Part 1 2Using Selections Part 2 3Q&A: Selection Tools 4Color Selections: Fixing Animal White Eyes 5Tightening Up Layer Masks 6Painting Selections with QuickMasks 7Using Vector Drawing Tools 8Vector Shapes: Creating an Oval Vignette 9Vector Shapes: Rounded Edges to Photo 10Use Channels to Create Selections 11Tough Selections Around Hair & Fur 12Refine Edges Part 1 13Refine Edges Part 2 14Creative Edges on Photos 15Embellishing with Vector Art 16Creative Vector Photo Frames 17Editing Smart Objects 18Smart Objects Template: Creating Dark Edge Vignette 1Smart Objects: Selective Blurring 2Smart Objects: Selective Sharpening 3Sharpening with the High Pass Filter 4Q&A: Sharpening 5Auto Color Adjustments 6Shadows and Highlights 7Using Levels 8When to Use Smart Objects 9Using Curves 10Lightening and Darkening with Blend Modes 11Enhancing Eyes and Teeth 12Changing Colors with Hue/Saturation 13Changing Colors by Hand Painting 14Faux Dodge/Burn: Reduce Wrinkle 15Color to Black and White 1Healing Brush 2Content Aware Fill 3Using Text in Photoshop 4Designing with Baseline Shift 5OpenType Fonts 6Placing Text Behind an Object 7Barely There Text: Faded and Hollow Text 8Pushing Photos Through Text 9Adding Texture to Your Text 10Convert Text to Paths 11Combine Images using Advanced Blending 12Realistic Photo Aging 13Faking HDR 14Wrapping Texture Around an Object

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