Wednesday, December 9, 2009

C01 Cross Processing

Ok, so I've been bad. I haven't posted an update in over a month. The silly thing is that I had already processed this image weeks ago. Regardless, here are the steps for this one:
  1. Select the Red Channel
  2. Apply these values:
    • B: 0.00
    • 1/4: 0.19
    • G: 0.28
    • 3/4: 0.47
    • W: 0.92
  3. Select the Green Channel
  4. Apply these values:
    • B: 0.00
    • 1/4: 0.16
    • G: 0.31
    • 3/4: 0.66
    • W: 1.00
  5. Select the Blue Channel
  6. Apply these values:
    • B: 0.00
    • 1/4: 0.30
    • G: 0.59
    • 3/4: 0.80
    • W: 1.00
  7. Exposure: -0.54
  8. Highlights: 42.5

Friday, October 30, 2009

Cross Processing: Part 1 of... um, maybe a lot?

I'm a big fan of Aperture's plug-in architecture. The one I use most often is probably Color Efex Pro 3.0 by Nik Software. But the downside of using plug-ins, is that once the image goes through the plug-in, you lose the non-destructive nature of editing photos in Aperture. So over the next few weeks, I'm going to attempt to recreate as many of the cross processing methods in Color Efex by just using the Levels palette within Aperture. I'm going to just go down the list starting with B01.

The adjustments that have to be applied aren't terribly complicated, but there are a lot. So once the settings are approximately what you desired, it's probably a good idea to save the levels adjustment as a preset.
Here's the picture that I'll be attempting to recreate:
First thing to do is to enable quarter-tone controls in the Levels palette. It's the icon right below the gears. It looks like a rectangle with two lines down it. Once it's on, you don't have to turn it on again.
  1. Select the Red Channel
  2. Apply these values:
    • B: 0.21
    • 1/4: 0.42
    • G: 0.61
    • 3/4: 0.71
    • W: 0.92
  3. Select the Green Channel
  4. Apply these values:
    • B: 0.00
    • 1/4: 0.25
    • G: 0.42
    • 3/4: 0.63
    • W: 1.00
  5. Select the Blue Channel
  6. Apply these values:
    • B: 0.00
    • 1/4: 0.15
    • G: 0.33
    • 3/4: 0.77
    • W: 0.94
With those settings, I get the picture below.

Thursday, September 17, 2009

Aperture Cheat Sheet


I don't know what's worse: the fact that I actually know the majority of keyboard shortcuts in Aperture or the fact that I'm excited that somebody actually made a keyboard shortcut cheat sheet. The post is almost 2 years old -- that's how long it's been since Aperture 2's had a major update, I guess. But the content is still all correct from my cursory glance at the two sheets. Included in the ZIP is a printable version and a pretty version.

Wednesday, August 5, 2009

Localizing Color

This particular effect is sometimes over done, but I'll still pull it out at least once per event. It's a good way to bring your viewers attention to some particular color or object. In my example, I took a picture of a bride and groom kissing while holding out their bouquet. The scene is already not very rich in color beside the flowers so this was a good sample to demonstrate the Dodge & Burn tool in Aperture.

Dodge & Burn is a plug-in that shipped with Aperture 2.1. When Aperture 2.1 launched, the big new feature was support for plug-ins. It's an incredibly useful plug-in (especially for those without Photoshop) since it includes a whole collection of tools for editing your photos. The Dodge & Burn plug-in includes:
  • Dodge (Lighten)
  • Burn (Darken)
  • Saturate
  • Desaturate
  • Sharpen
  • Blur
  • Contrast
  • Fade
To begin, right click on the photo and select "Edit with" > "Dodge & Burn." Aperture will make a copy of the file (sorry, no more non-destructive changes!) and load that in the window. In the upper left drop down you'll see all the tools. There's only three settings with each tool.
  • Size is the size of the brush. You can also change the size by using the scroll wheel or dragging two fingers on the track pad.
  • Softness refers to the edge of the brush. The lower the number the harder the edge. I generally go for something pretty close to 1.00. If I want a harder edge, I just go back through the area with a smaller brush.
  • Strength is how much of the effect you want. For my picture I knew I wanted a completely desaturated look, so I pushed strength all the way up.
For my picture, I chose to desaturate. Then I simply brush where I want my picture to be desaturated. It really helps to have a tablet when doing a complicated photo like this. The plug-in supports pressure sensitive controls which makes getting this done a lot faster. Once the painting of desaturation is done, simply hit Save in the lower right hand corner. DONE! (Ok, not really done. Once I finished painting, then I upped the contrast, saturation, vibrance, and sharpening; then I added a heavy dose of vignette.)

A big caveat about using plug-ins -- this one or any other one. Using plug-ins is DESTRUCTIVE! Aperture makes a copy of the image as a TIFF or PDF (check your settings) and that's what's used to edit. When you are in a plug-in or export, you're manipulating that file. Once you hit Save, that's it. There's no going back to some middle state like you can when you are just playing with your adjustments palette. Once you've got that TIFF/PDF duplicate, that's it. If you put that file into another plug-in, the "Master" or "Original" state of that image is whatever you last saved. So for my picture, it would be the post-processed version, not the true full color master image as you'd expect. One other thing. Once you have the TIFF/PDF duplicate, whenever you send that file to edit in an external editor or another plug-in, it no longer creates another duplicate. So if you want to create multiple states, then you have to manually duplicate the duplicate before you drop it into an external editor or plug-in.

Click through the thumbnail above to see a larger version of the final image. Congrats M&R on your wedding!

Tuesday, July 21, 2009

Tethering

One of my favorite features in Aperture is the ability to tether (via USB) a camera to the Mac and get instant results from my shots. Start by going to the menu (there's no default keyboard shortcut): File > Tether > Start Session. The dialog that shows up should be pretty familiar to you by this point. It looks pretty similar to the Import dialog. Click the Start Session button, and you're ready to roll.

Click the shutter or hit the Capture button in the tether HUD. Bam! It's in Aperture. Take another shot. Bam! It's in the project. The immediate feedback is extremely gratifying. Set Aperture to full screen mode (F) and you'll see a full screen render of the image as it's shot. This can be useful and more accurate for dialing in settings on the camera (better than looking at the LCD screen on the back of the camera) or giving a model some immediate feedback. Just be sure to use a LONG (15' or more) USB cable or you might yank your Mac to the ground.

The biggest problem with tethered mode lies somewhere between Canon and Apple. Starting with the 30D and all their DSLRs since then, Canon changed how they support PTP. None of the new models can be tethered to Aperture. I'm currently shooting with a 40D -- I am a sad panda. (You Nikon people don't have anything to worry about for now.)

For a list of supported cameras, see the list at http://support.apple.com/kb/HT1085

Monday, June 22, 2009

Saving Adjustments

Ok, I don't like to give recipes for photo editing, but there is one thing that I apply to most of my pictures. I like my photos with a little extra contrast, saturation, and vibrance. While I could use the Lift and Stamp tools to copy adjustments from one picture to another, I can save my adjustments as a preset.

Every controls group has a menu drop down where you can save the adjustments. Once you have the adjustments set, open the menu and select "Save as Preset." A dialog box opens for you to name this preset. Now you can reapply these adjustments to your hearts content by accessing the menu drop down on your other photos. The three control groups that I have presets for are: Enhance (I have a basic and a high contrast that I use for monochrome), Sharpening, and Edge Sharpening.

My big peeve with this drop down is how all the options are ordered. You'll notice that the first item in the menu drop down is to add/remove the controls group to the default set. This option shows/hides this control group by default on the Adjustments Inspector. This option is the one I use the least and it's at the very top. There's been a bunch of times when I've clicked it by accident. The name of this menu item is also rather confusing. The other thing I would like to see Aperture add is a preset for adjustments that span across multiple control groups. I want to add vignette, sharpening, and enhancements from one command -- one that I would like to tie to a keyboard shortcut.

Wednesday, June 17, 2009

Stacks

Stacks is an important tool in organizing your files in Aperture. It allows you to group your photos together. When you burst a series of shots or bracket a series of shots, you may not want to see each individual image. To clean up the browser, select all the images and ⌘K. This puts the selected images into a single stack of photos. Initially it doesn't appear any different except now there's a border around all those images. ⇧K will open/close the stack. Stacks eliminates the clutter in the browser.

When the stack is closed, the first picture is all that's visible. That picture is called the pick. If the desired picture is not the pick, select the one that is desired and hit ⌘\. Within the stack, there's additional sorting that can be applied. Promote/Demote (⌘[ or ⌘]) a picture moves it further up/down the stack. The sort within the stack is independent of the sort in the browser. The stack is sorted only against how the pictures are promoted/demoted.

When the stack has been added to an album, a further option is available for picks. The "album pick" allows the album to have a pick that is different from the project. This is useful for when a particular stack may have multiples of the same image but each is processed differently. Unfortunately there's an inherent limitation in that you can't promote multiple pictures within the stack to be album picks. For that, you will have to break that picture out of stack.

I use stacks quite a bit. I tend to shoot on burst mode. Keeping photos in stacks helps me keep the pictures in my browser clear of clutter. It also lets me hide my uglier shots behind a nicer one.