Know your digital image files

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1 Know your digital image files What is a pixel? How does the number of pixels affect the technical quality of your image? How does colour effect the quality of your image? How can numbers make colours? How can you aid your tutor to see your image colours on screen as you see them? How can you be assured that your images are optimally adjusted for brightness? How can you optimise your images for different uses? These are things you need to understand about your digital image files to deliver them effectively for tutor report and assessment. What follows is a simplified model of the actuality but it will give you an overview that will allow you to make the appropriate decisions when creating or modifying an image file for print or screen display. The pixel grid Your digital image is constructed from a grid of pixels (from picture element). They are square and they can only be one solid colour. The number of them which make up your captured image is determined by the pixel dimensions of the sensor in your camera. As of writing that might be typically 4500 pixels x 3500 pixels In theory the more pixels you have the more detail you can resolve in the image, in practice this doesn t always equate to superior overall quality but here we are providing a general outline of the major factors in creating and preparing image files. Page 1

2 More Pixels... Less Pixels... Colour palette The other major factor which affects the fidelity of the captured image is the size of the palette of colours that the solid pixel colour is selected from. For an image to approach photographic realism it s been determined that the palette of colours the software can select from must consist of about 16 million colours. You don t have to have 16 million colours in every photorealistic image just the possibility of selecting from them. From a palette of 16 million + colours... From a palette of 256 colours... From 1s and 0s to colours Computers deal in numbers, binary numbers, 1s and 0s, so how do they manipulate visual images? Page 2

3 The colour of a pixel in your photorealistic image has to be represented by a series of 1s and 0s. Each colour is mixed from varying amounts of pure Red, pure Green and pure Blue, shortened to RGB. The amounts of those colours for each pixel can be set individually in 256 steps, running from 0 to 255, R=0 G=0 B=0 would make the pixel black, R=255 G=255 B=255 would make the pixel white, R=255, G=0, B=0 would make the pixel pure red etc. Different values of RGB mixed together provide the range of colours; the palette There s a reason why each colour channel is divided into 256 steps, from black to the pure colour, which is to do with binary numbers and the fundamental architecture of the computer. The 1s and 0s are called bits and there are deemed to be 8 bits in a byte so the largest number we can represent with a byte is in binary, (that s 8 ones), converted to a decimal that becomes = When we include 0 that makes 256 possible values. So every combination of the 256 levels for R, G and B is represented by x x 256 which conveniently equals approximately 16.8 million colours, enough of a palette of discrete colours to make a photorealistic image with. It takes an 8 bit binary number, a combination of 1s and 0s, for example to represent each of the three levels of RGB per pixel and since there are 8 bits in a byte each pixel needs 3 bytes to define its colour, 3 x 8 = 24. Hence photorealistic colour in an image file is known as either 24 bit colour or 8 bits per channel colour, the channels being R, G and B. So your digital image is actually made up of a grid of dimensions according to the pixel dimensions of your camera sensor with three numbers to each square, a value for R, a value for G and a value for B. When these values are fed from your image file, in order, via the computer, to your screen or printer they are interpreted and outputted as a grid of colours. By the way, what is in decimal? Use the above table to work it out. Page 3

4 How do I know they are the same colours I recorded with my camera? This is where the theory gets complicated but there are some straight forward key concepts, things you can understand and do, that will ensure you are making the best of your colour for our purposes. Each device has a range of colours that it s either capable of capturing or outputting. These are known as colour gamuts or colour spaces and they re particular to each class of device. Your camera, or scanner, will be capable of capturing a particular range of colours with your screen or printer outputting a particular range of colours, typically none of these will match exactly, such that a colour that goes into one end of the system will be a different colour when it comes out the other end, we are dealing with a mechanical interpretation of numbers, you supply the colour perception. The process of colour management is a means of addressing this, whereby a colour profile (know as an ICC or ICM profile) is constructed for each device, which will help in the translation of the colour information. i.e. translate the numbers from one device to another to keep the colour information as faithful as possible to the original capture. Profiles are supplied by the manufacturers of hardware and software, some particular to their products and some generic. Look into the colour management of your machine or editing package and you ll probably find that you already have several installed. Particularly with the screen you ll find it preferable to make your own profile as part of the calibration routine with a hardware sensor, as explained below. Calibration packages are available at a range of prices from large web retailers. Typically a dslr will offer a choice of colour space to work in through its menuing system, often either Adobe RGB (1998) or srgb. Adobe RGB offers a wider range of colours so is often a good choice. srgb has a smaller range of colours but nominally represents the colour range available on a consumer screen and some of the online digital C type printers recommend uploading files made from the srgb colour space. Not all cameras offer the option but it s preferable to shoot and edit in RAW format. It delays some of the irrecoverable decisions one would have to take at the time of shooting, such as which colour space to use, if one didn t shoot in RAW and leaves them as options which can chosen differently in repurposing images for different uses. Page 4

5 So for example if one was making a print one could open the RAW image file while applying the Adobe RGB 1998 colour space to it and attaching the matching Adobe RGB 1998 profile to the image file or if it was intended for screen display one could apply the srgb colour space when opening it and attach the matching srgb profile to the image file. Attaching the profile to the image passes the colour space information on to the next application that opens the file for display or printing, telling it how to interpret the numbers in the file into the final colours that are displayed or printed. Without that information the final colour will be more unpredictable. This is particularly a problem with screens when people are making visual adjustments to their images based on what they see on screen. Screens vary widely in the way in which they render colours, depending on how they re adjusted, like a TV set, and what they re physically capable of displaying, therefore it s not possible to make visual adjustments to images on your screen that will be valid for other screens unless you calibrate your screen, preferably using a hardware device. In that way you ll know that at least people who are looking at your images, perhaps your tutor, on a calibrated screen will be seeing approximately the same as you and it s a step along the way to having your prints match more closely to what you see on screen. A typical scenario with new students is that the images they send to tutors are a dark muddy brown and they complain that their camera is over exposing and making images that are very blue so they re making them darker and warmer by visually adjusting them in post production. The reality is that there s nothing wrong with their camera, it s their screen that s too bright and too blue, as they typically can be straight out of the box, so it s vital to calibrate the screen. Displayed on your uncalibrated screen, an image file might look like this... Page 5

6 To your tutor on their calibrated screen the same image file might look like this... One can see the value of calibrating the screen to ensure that your tutor and a wider audience are seeing it as closely as possible to how you re seeing it. Normalising the tonal range of your images Once your screen is calibrated you can begin to make judgements about the tonal range in your images. Your digital camera attempts to capture as much information as it can about the scene that you re photographing. Very often students will accept this as the correct exposure and leave it unchanged, typically this results in images that are too dark because of the bias toward capturing highlight detail rather than retaining shadow detail. As a first step in post production of every image you shoot I suggest you load it into your Levels control and do an Auto level, what this does in essence is make the brightest pixel of your image white and the darkest pixel black. It s matching the tonal range of your capture to the tonal range of your screen where 0 is black and 255 is white. Page 6

7 This is analogous to the old black and white film negative/print process where the contrast grade of the paper was adjusted to compensate for the contrast range of the film negative so that your finished print used the full tonal range the paper was capable of from black to white. Did the Auto level improve the look of your image to your eyes? Now that your screen is calibrated it will be a valid perception. You can now investigate refining it by undoing the Auto and making manual adjustments to see if you can achieve a more fine tuned result than Auto. In the vast majority of cases the white point on the extreme right of the histogram and the black point on the extreme left should be adjusted to coincide with the values where the histogram starts to rise significantly at either end of the histogram, ignore the areas either side of those end points that are either empty or have a flat line. Carry out the above operations as necessary, save as a copy then compare to your original. In the vast majority of cases it will be a visible improvement, to a greater or lesser extent. Optimising image files for different uses It s important to understand the uses of different image file formats, their properties, when their use is appropriate, for example when compression is appropriate and when it s not. There are two types of compression, lossless and lossy. With lossless the original uncompressed file can be perfectly recreated when it s opened, with lossy it s only an approximation. How much of an approximation depends on the amount of compression applied. Going back to the structure of our image file we have a grid of boxes, one for each pixel, in that box there are three numbers defining the colour of that pixel, one for Red, one for Green and one for Blue, each number is made of 8 bits. 8 bits is one byte and we have three numbers each of 8 bits so that s 3 bytes for each pixel, 1 byte for the Red level, one for the Green and one for the Blue That means an image made of a grid 4500 pixels x 3500 pixels, needs 3 bytes per pixel to define the pixel s colour x 3500 x 3 bytes = bytes or 47250kB or MB (until recently the divisor was 1024 for binary reasons) Page 7

8 So the file size of the image uncompressed, less some information about the image in the file that gets included such as all your shooting information, is MB. Lossless compression finds more efficient ways to store this data by inspecting it. Note that when you have an image open in an editing package it doesn t have a format; it s the uncompressed data that s being displayed. When you save it you have the choice to save in a different format than it was in when you opened it. When you save the image your editor packs all the data away again in the format you ve specified. TIF and PSD format files typically make use of lossless compression. With lossy compression the amount of data needing to be stored can be reduced by ignoring small differences between adjacent pixels and recording them as being identical. At low levels of compression this loss of detail can be hardly noticeable when the image is reconstructed from the file but the more aggressively the software is set to compress the data the less discerning it becomes about the variations between pixels and degradation of the image can become noticeable if the level of compression is set too high or the file is repeatedly saved in subsequent editing sessions. Obviously lossy compression is only useful as a final output when the intended use means it s important to minimise the file size. It s not suitable as an interim format when doing post production work because every time it gets opened, edited and resaved the compression damage, known collectively as artefacts, becomes more obvious. The JPEG format uses lossy compression. A JPEG saved at low compression... Highly compressed JPEG showing artefacts... Page 8

9 If one s camera is generating JPEGs, as opposed to RAW, the first act should be to save them in a lossless format such as TIF or as a PSD and then continue one s post production work in the image editor s native format. These can be edited and saved over and over without loss of quality. The JPEG format comes into its own for ing and web display. In fact the photorealistic visual web wasn t feasible until it was invented. JPEGs for screen display should be converted to the srgb colour space and tagged with the srgb profile. Converting to the srgb colour space matches the image most closely to screen gamuts, which is useful when image viewing software, such as some browsers, can t read or don t respect the profile attached to an image because it will be in srgb colour space already. So the fundamental properties of your digital image file are its dimensions in pixels and the colour space it occupies. The meaning and use of ppi A secondary property is the resolution you d like it to have in pixels per inch, ppi, when it s displayed in some way. ppi is a singular property, one figure, it is not inherently bound up in the image information; it s a value that s stored in the file, along with the shooting data, date, exposure, etc. You can change this value as much as you like without affecting the image data in anyway. It simply tells software that respects it how many pixels per inch you d like the file displayed at or printed at. Image file viewers tend to ignore it and show you the image at 1 to 1 magnification, i.e. one pixel in the image file maps to one screen pixel if the whole image will fit on screen at that magnification. Printing software generally respects it as do applications that give you the option to display at print size. So going back to the typical out of camera file of 4500 pixels x 3500 pixels, if you set the ppi to 300 ppi to print then the physical size of your print would be 15 (4500/300) x 12 (3500/300). The same file displayed on a screen, which today typically have a resolution of 96ppi,at 1 to 1 magnification, would be 47 (4500/96) x 36 (3500/96) to the nearest inch. Page 9

10 In fact too big for most computer screens to be displayed at 100% and it s desirable to be able to display them as one pixel of the image represented by one screen pixel for the greatest fidelity. Different means of output and display require different pixel dimensions and ppi parameters for the same sense of quality. The highest ppi required for same size reproduction is 300 ppi. That would be for glossy magazine quality printing so our typical camera could just about achieve a double page spread in a glossy magazine, as calculated above at 15 x 12. Depending on the paper surface a file for inkjet printing can produce good results at 180 ppi so the same file that achieved the double page spread could make an inkjet print 25 x 19. With a digital C type it s possible to go as low as 120 ppi and the same file would make a print 38 x 29. Conversely if we keep the physical size of the print/displayed image consistent then for the same quality we need the most pixels for the glossy magazine and the least for screen display. So optimally copies of images need to be repurposed for different uses by adjusting the pixel dimensions, choosing the correct colour space for the usage and setting the ppi. ppi is not the same as dpi, dots per inch, although sometimes dpi is casually used to refer to ppi. dpi is normally taken to represent the resolution of a printer, that is the number of individual dots it can print in a linear inch. That s not pixels, that s dots, so for example with inkjet printers it takes more than one dot to represent a pixel. Your printer might be capable of printing at 1440 dpi but that doesn t mean your image file needs to be 1440 ppi, 180 ppi and above would be perfectly adequate. The most typical error that students make when submitting documents for screen display, either Word docs or PDFs, to their tutors for report or for assessment is to embed images at camera resolution, in the Adobe RGB 1998 colour space, at the 300 ppi that dslrs typically set that value at by default. Without subsequently compressing the embedded images this results in document files that are much bigger than they need to be and the files therefore are too big to and have to be deposited in an online drop box with commensurately long upload times or inconveniently posted off on a memory stick or CD. Page 10

11 When creating a document in MS Word for screen display convert your images from Adobe RGB 1998 to srgb, if they re not already, before embedding them. After completing your document, highlight one of the embedded images, then under Picture Tools select Format... then Compress Pictures... Uncheck Apply to selected pictures only... Options... Compression Options... Check Automatically perform basic compression on save Check Delete cropped areas of pictures Target Output... Check (96ppi) OK... OK... and you re done. The above order of steps my vary slightly but the aim is to select one image but elect to compress all of them to resolution, that s 96 ppi, while deleting cropped areas. Now your document will look exactly the same but be much smaller and easy to . When saving as a PDF save for Minimum size (publishing online) in the save dialog box. Bearing in mind the above ask your tutor how they would like assignments delivered to them. Find out what pixel dimensions they would like images supplied to them at and deliver them as JPEGs resized in your image editing package; setting the ppi to 96ppi, converting them to srgb and saving them with compression set to high quality, that s 8 in Photoshop and 66 or so in Lightroom and the srgb profile attached Accompanying documents that have images embedded, be they Word docs or PDFs, should be compressed according to the above procedures. Page 11

12 Following these recommendations will make your submissions as lean and effective as possible. What next? You don t need to commit this all to memory, simply return to this document when you need to prep image files for tutor report, assessment or printing and you need a reminder. What you can do to help get some practical experience is practice repurposing image files. Take an out of camera image file, preferably created in the Adobe RGB (1998), then in your image editing package convert it to the srgb colour space, resize it to 1000 pixels on the longest side, while maintaining its aspect ratio and save it as a copy high quality jpeg tagged with the srgb colour profile. Now check the resulting file s properties to confirm that you ve achieved that. Repeat a few times until you re comfortable with the series of actions you have to take in your image editing package to achieve that; be it a version of Photoshop, Lightroom or another image editing package. Note that srgb is a smaller colour space than Adobe RGB (1998) so it s a one way conversion going from Adobe RGB to srgb, in the same way that reducing the pixel dimension of an image throws away information that then can t be recovered by making the pixel dimensions larger again and the same is true of lossy compression. They are all one way streets which is why it s important to preserve your camera originals in their pristine state and do all your postproduction work on copies of them at full resolution, also preserving those and then using them as the source for repurposing copies for display, , embedding, printing, etc. Now practice optimising your Word and PDF documents, for submission to your tutor, by importing images at camera resolution, resizing them in the document, saving and noting the size then applying the Compress Pictures routine, saving and rechecking the size. You should see significant savings in document size if you re doing it correctly. For further clarification search the web where all these issues are covered extensively and in detail, sometimes it may seem contrary to what is written here but as I ve said this is a simplified overview to enable you to make informed practical decisions and begin to form an understanding of the concepts involved. Page 12

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