Pixels

The term resolution refers to the number of small squares known as pixels that describe an image. Number of pixels per unit of length is called image resolution, the more pixels, the higher the resolution. (72 pixels is the standard for online use, 300 or higher for print.)

Pixels in a photographic image

Image file formats: JPG, GIF

For the most part in this class we will always be creating images for the web. We will be working in the raw format while retouching images and then saving as JPGs or GIFs.

GIF
Short for Graphics Interchange Format, this format is best for graphics, not photography as it has a limited number of colors, 256. GIF is better than JPG for graphics with only a few distinct colors, such as line drawings and small text that is only a few pixels high. So select this option for graphics using solid blocks of color, simple title banners, icons, navigation buttons. With an animation editor, GIF images can be put together for animated images. GIF also supports transparency, where the background color can be set to transparent in order to let the color on the underlying Web page to show through. Advantages of GiFs are a small size, loss-less (does not get blurry or distorted), they can be animated, transparent, and interlaced.

Examples:

JPG
This file type was developed for photographs. Whereas GIF can display 256 colors, JPG’s can display millions of colors — making it much more appropriate for the color demands of photography or very complex graphics. The JPG file type is used to compress images — to make them smaller for web usage.The information that is discarded in the compression is information that the human eye cannot detect. Unlike GIF, the JPG will lose quality as it is compressed. So, you must strike a balance between quality and file size. JPG does not work well on line drawings, lettering or simple graphics because there is not a lot of the image that can be thrown out in the lossy process, so the image loses clarity and sharpness.

Example:

PNG

Short for Portable Network Graphics, the third graphics standard supported by the Web (though not supported by all browsers like some versions of Internet Explorer). PNG was developed as a patent-free answer to the GIF format but is also an improvement on the GIF technique. An image in a lossless PNG file can be 5%-25% more compressed than a GIF file of the same image. PNG builds on the idea of transparency in GIF images and allows the control of the degree of transparency, known as opacity. Saving, restoring and re-saving a PNG image will not degrade its quality. PNG does not support animation like GIF does.

Source: Webopedia

For the most part in this class we will always be creating images for the web. In class, we will be working in the PSD — or Photoshop format — while retouching images and then saving as JPGs or GIFs.

Use Photoshop to:
Crop or resize images
Adjust tonal properties such as lightening a dark image
Color correct images
Sharpen or correct blurring
Open or save in a variety of file formats

Workspace
(Click on the layout to see a larger version.)

The Adobe Photoshop workspace is highly customizable. For our initial purposes, reset the workplace to the default. On the top options bar, click the button for Workspace on the right and choose “Default Workspace.”

This options bar is just below the main menu on Mac computers. The thing to know about this particular part of the workspace is that it is contextual in nature. That means the options displayed will change depending on which tool you’re on. In the example image above, the options for the Selection tool are displayed. As you click through the different tools, different options pertaining to each of those tools will be given.

To open an image:

Auto Tone, Contrast, Color

Often you can get a solid result using the “auto” commands for tone, contrast, color. You can find these under Image in the menu bar.

Select one at a time and see the impact on your image. If you like it, keep it, if not, access the “history” palette where you can “undo” these actions one at a time. You can also select Adjustment>Levels and select Auto.

Edit images with adjustment layers:

For more fine-tuned control, use adjustment layers.

The history palette:

This is a very useful tool as it allows you to backtrack many steps, in case you make a change you regret.

To resize images:

Click on the image menu. The image resize option will be found under here.

Notice that there are two sections to this dialogue, the Pixel Dimensions section at the top and the Document Size at the bottom. When working purely for the Web, you can ignore the document size, since that is only for working with media that will be printed on a printer.

With the pixel dimensions section, you simply type in the values of the width. If the Constrain Proportions checkbox is checked, then when you change either the height and width the other value will change respectively based on the ratio of their dimensions. You should always leave the Constrain Proportions checked or else you will distort the photograph.

If for some reason, you cannot edit the Pixel Dimensions, that means the Resample Image is not checked. Resampling the image is a fancy way for saying that you can change the size.

Finished product:

Practice working with brightness/contrast

This image is too dark:

This image is too light:

To crop an image:

If you want to make adjustments to your photo, to frame it better or to focus on one aspect of the shot, you can trim it using the crop tool.

Once you have the image open, click on the crop tool in your tool palette.

You can confirm or cancel your crop in a number of ways. You can use the cancel icon (looks like a no-smoking circle) or the OK icon (looks like a checkmark) that is located at the top right of the options bar.

Resizing while cropping

You can resize the image as you are cropping. Essentially, you are telling Photoshop which dimensions the image should result in after your crop.

Fill in the width and height fields in the option bar while the crop tool is selected.

width: 640 px

Important! Notice the “px” suffix. This is very important, because Photoshop may default to “in”, which stands for “inches”. Generally when producing images for online use, you should stick with pixels.

You can also use some very simple keyboard shortcuts. Press Return (Enter, on a PC) to confirm your crop, or press the Esc key to cancel the crop. You can also use the mouse by double-clicking within your image to confirm the crop, or clicking on another tool, which will bring up a warning dialogue box asking you to either confirm or cancel.

The Toolbar

One thing to notice about each of these tools is the small triangle in the lower right hand corner on each of the buttons. That small arrow signifies that there is more than one tool to choose from in that button. To reveal the other options, click and hold down the button and a small window will pop up offering additional tools.

The last task you may do when retouching an image is to apply the Unsharp Mask filter. The Unsharp Mask filter adjusts the contrast of the edge detail and creates the illusion of a more focused, sharper image.

1) Choose Filter>Sharpen>Smart Sharpen
2) In the Unsharp Mask dialog box, make sure that Preview is selected so you can see the effect of settings you adjust in the image window.

(You can drag inside the preview window in the dialog box to see different parts of the image or you can zoom in or out.
3) Drag the amount slider to sharpen the image.
4) Once you are satisfied with what you see, click OK.
5) Save

Example of effect of unsharpen. After (left), Before (right)

Save and Export

There are two methods to saving a photo in Photoshop, and each has a specific purpose. One way is to use the “Save As”, the other is a special feature in Photoshop called “Save for Web & Devices”, which is used to save your images for the Web.

1) Save as: Use this method when saving your photo for archiving or if you plan to work on it later. We recommend saving the file type as a Photoshop or .PSD file, which will also save extra Photoshop-specific information about your photo.

2) Save for Web & Devices: Use this when you are ready to export your photo for publication to the Web. This feature prepares your photo for the Web and has added features that allow you to see how it will appear once it’s on a site. This ensures your photos will show up properly on the Web — and that the file sizes will be appropriate for online use.

Reminder

Adnan Hajj Beirut photo comparison

Stalin with Nikolai Yezhov

Helpful Key Commands:

Screen capture (Mac)
Entire screen: Command+Shift+3
Cross hair selection: Command+Shift+4

Photoshop:
New document Cmd+N
Open Cmd+O
Print Cmd+P
Save Cmd+S
Select All All Cmd+A
Copy Cmd+C
Cut Cmd+X
Paste Cmd+V
Undo/Redo Cmd+Z
Close Cmd+W
Zoom in Cmd+ +
Zoom out Cmd+ -

Resources:

pixlr.com
Fotoflexer
Lunapic.com
GIMP – GNU Image Manipulation Program
Digital Photography Tips
35 Basic Tutorials to Get Your Started with Photoshop
Best Digital Cameras for Panoramic
8 Guidelines To Taking Panoramic Photos With Any Camera

1) Levels Adjustment

Adjustment layers are very easy to use, are non-destructive and you can use them to alter just parts of an image.

Use a Levels adjustment to enhance the tonal range and contrast of your picture, to correct lighting or exposure. Levels will often fix dull, flat images by adding contrast. Clicking on the Levels adjustment will pop up a panel with a chart of all possible tonal values in an image, the darkest on the left, lightest on the right. Increase contrast by setting new black and white points. Next adjust the midpoint.

2) Curves

An S curve increases contrast in a photo, in other words, the range of tones. The dark areas are darker the light areas are lighter.
This is a direct adjustment. It is similar to Levels but allows for even more control over the edit. It comes with a range of presets. Often “Increase Contrast” will give the desired effect. You can also decrease the impact of this edit layer using the opacity controls.

3) Shadows/Highlights

This is a direct adjustment. Use this tool to lighten shadows, darken highlights, and increase midtone contrast. You should make a copy of the photo first (Cmd J). Then you can adjust the opacity of the adjusted layer to lessen the effect if you wish.

4) Brightness/Contrast
Levels is more effective than Brightness/Contrast usually because you can control shadows, midtones and highlights independently. However, occasionally this is not the case. With Brightness/Contrast, the brightness slider is close to the Levels midtone slider. The Contrast slider is similar to the Levels’ shadows AND highlights slider.

5) Crop

Crop tool is the fourth one down on the toolbar

You can recompose an image using the crop tools. You can also simultaneously resize your image using the crop tool width and height function.

6) Sharpen

You can use the Adjust Sharpness or Unsharp Mask options under Enhance. Make a new layer with the image, Cmd J, because this is a direct edit. By making change on another layer you can easily see the impact of your sharpening and you can modify it using the opacity or the blending mode (changing it to Luminosity can minimize harsh effects of sharpen on an image.)

7) Save for Web

File > Save for Web and Devices:
Be sure to use this option because it will shrink your file size down considerably. On the right there is the option to select different quality. Generally I chose Very High, unless the file size is 350 K or over. In that case, I will select High, as long as the quality remains relatively good.

Composition

Avoid static images, look for peak action:

A protester being pepper sprayed. The image won an award for breaking news photography.

Survivors carry religious images, ten days after Typhoon Haiyan made landfall in the central Philippines.

Rule of thirds:

- This technique draws the viewer’s eye into the entire composition, instead of just the center.
- Off-centered images often feel more dynamic than centered ones.
- If the central subject is small, use an intersecting point of the grid. If it is large or long, put it along a grid line.
- In a landscape, place the horizon on one of the horizontal lines, not in the center.
- If a subject is looking or moving in a direction, leave the empty space in that direction.
- Right placement is a popular choice to draw the viewer into the image.

Working the layers:

Scott Jones gives his girlfriend Alex Thomas a kiss after being knocked down to the ground as riot police clear the streets of downtown Vancouver, Canada after the city broke out in riots when the Vancouver Canucks lost Game Seven of the Stanley Cup Finals, on June 15, 2011.

After punching a hole in his bedroom door, Scott panics in his living room. Scott said that being diagnosed with PTSD “means I have nightmares every night. It means I’m hyper-vigilant — It means I have no fuse and if I get attacked, I’m going to kill. “I don’t want to feel this way.”

Sara King, left, walks past her boyfriend, Trinidad Rodriguez, in the van they live.

Some 300 guests celebrated for two days when bride Heelan Muhammad, 23, married Husham Raad, 30, last October.

Point of view:

Ultra-Orthodox Jews attend a prayer as they gather in the religious neighborhood of Mea Shearim to protest against summer events organized by the city council, Jerusalem, Thursday, Aug. 11, 2011. “Prayers for Protest”

KONA, HI – OCTOBER 8: A general view of competitors swimming over a school of fish at the mass swim start for the 2011 Ford Ironman World Championship on October 8, 2011 at Kailua Bay in Kona, Hawaii. Considered one of the most grueling races in the world, nearly 2,000 competitors must brave 95 degrees temperature and 90 percent humidity to complete a 3.86 km swim, 180.2 km bike, and a 42.2 km marathon with in an 17 hour time cutoff to be called an “Ironman”. (Photo by Donald Miralle for LAVA)

In Tripoli, at the 32th Khamis Brigade head quarters, rebels forces found 53 carbonized bodies inside a warehouse supposedly used as a detention facility by soldiers loyal to Col. Muammar Gaddafi.

Joesphine Mpongo, 37, practices the cello in the Kimbanguiste neighbourhood of Kinshasa, DR Congo. The Kimbanguiste Symphony Orchestra practise here 5 days

Light and shadow:

A doctor cries when four of his friends (one doctor, an ambulance driver and two nurses) were killed by a NATO air strike in the road between Ajdabia and Brega.

Evacuees cast their shadows on tents as they arrive at a UNHCR refugee camp fleeing violence in Libya.

Patterns:

March 14, 2013 – Lovozero, Russia – Reindeer herd together on a breeding co-operative farm.

Framing:

An example of “framing:” The 18th floor toilet in the Boom Boom room in the Standard Hotel offers a bird’s-eye view and exposes patrons to the elements.

Perspective, lines:

The fishing community on the Lofoten islands of northwestern Norway is slowly diminishing, as their way of life is dying out

Rebel fighting against pro government soldiers inside a building in Tripoli.

Motion blur:

Port-au-Prince, July 2010. The group dance during a voodoo ceremony.

Timing & serendipity:

A man sits on a bus with a clothing ad, Slovenia.

A photo op that turns out to be unexpectedly revealing.

President Obama is lifted in the air by Big Apple Pizza owner Fort Pierce Florida, Sunday, Sept. 9, 2012. (Photo by Doug Mills/ The New York Times)

Vary the image types: wide shots/establishing shots, medium range, close-ups/details:

Establishing:

Mushers compete in a stage of La Grande Odyssée sledding race, on 18 January.

Medium:

Gun Nation

Close-up:

At the 11th annual open-air health clinic in Wise, Virginia, most of the 2,347 patients needed dental care.

Sources: 10 Top Photography Composition Tips, National Geographic Tips, NPPA Best of Photojournalism

Cell Phone Camera Tricks

They Are Slaughtering Us Like Animals

How Venezuela’s President Keeps His Grip on a Shattered Country

Year in Pictures 2018

Coming home a different person

After he was injured, doctors removed virtually the entire left side of Army Spec. Robert Warren’s skull to let his brain swell and keep the blood flowing, thereby preventing his brain damage from worsening. (Story arc)

The Land That Failed to Fail

Opinion

A Woman’s Rights

Slice of life

A Blind 78-Year-Old Magician Finds a New Stage: New York’s Subways

Inside One of America’s Last Pencil Factories

Gun Nation

“People in this country huddle in their houses and throw the deadbolts, but I will not succumb to the scum that is out there.” Vicky Sykes, 40, Memphis, Tennesse (Quotes, variety of images)

Chosen Ones

In China, children with albinism face a bleak future. Often abandoned and ostracized, most will never be educated, marry or find a job in their country. Adoption offers hope for a chosen few. (Angles and color)

The unbridled joy of dogs catching treats

Event coverage

Giving Appalachian residents something to smile about

At the 11th annual open-air health clinic in Wise, Virginia, most of the 2,347 patients needed dental care. The free clinic is put on by Remote Area Medical, which specializes in helping impoverished communities. Hundreds arrive the night before the annual open-air health clinic and sleep in their cars in hopes of getting medical care at the late July event. (Range of long, medium and close-up shots)

Day in the life

Moscow Never Sleeps

6:01PM – A shopper scythes through bitter cold to reach a boutique on Red Square. These materialistic days, Marx and Lenin can’t compete with Dior and Armani for the hearts of the consuming class. (Nice intro setting up the story, a variety of shots illustrating shift, great light and color)

Days with my Father

My Mum died suddenly on September 4, 2006. After she died, I realized how much she’d been shielding me from my father’s mental state.

Documentary

Every Building on Every Block: A Time Capsule of 1930s New York

Scenes Unseen: The Summer of ’78

Photo Series/Trends

(Photo illustration)

Time.com – Top 10 Unusual Medical Treatments (Photo illustration)

Macro Photos of Kitchen Herbs

The Speed of 12 Olympians: Capturing Their Twists, Turns and Leaps in Fractions of a Second

Slideshow styles

Structure and navigation:  Highlights, Chronology, Geography, Big Picture

Faces of an Epidemic

Boston.com – The Big Picture

Pictory Magazine – Eat At Your Own Risk

We’re All Gonna Die – 100 meters of existence

Hurricane Michael: One Mile of Devastation in Florida

The Whale Hunt

NFB: Highrise: Out My Window

Panoramas

NYT – Haiti Earthquake

Before/After

The Berlin Wall: 20 Years Later

Beyond the Stoop

3D & Augmented Reality

El Capitan

Take a Tour of Lady Liberty’s Torch (Right This Second)

Slideshow elements

Signature Photo: A photo that summarizes the entire issue and illustrates essential elements of the story.

Establishing or Overall Shot: A wide-angle (sometimes even aerial) shot to establish the scene. The idea of the establishing shot is this: When you do a photo story you are taking the viewers on a journey. You need to give them a sense of where they are going, an image that allows them to understand the rest of the story in a geographic context.

Close-Up: A detail shot to highlight a specific element of the story. Close-ups, sometimes called detail shots, don’t carry a lot of narrative weight. Meaning, they often don’t do a lot to inform the viewer on a literal level but they do a great deal to dramatize a story. It’s ALWAYS a good idea to shoot lots of close-ups.

Portrait: This can be either a tight headshot or a more environment portrait in a context relevant to the story. Photo essays are built around characters. You need to have a good portrait that introduces the viewers to the character. I always shoot a variety of portraits, some candids and some posed.

Interaction: Focuses on the subject in a group during an activity. Images of your character interacting with others help give a human dimension to your character. Think about reactions too.

The Clincher: A photo that can be used to close the story, one that says “the end.” Essentially, our example is a process piece. What’s the end of the process?

Caption Writing Tips

Here are a few tips to keep in mind from Poynter: Hot Tips for Writing Photo Captions

Avoid stating the obvious. “Dennis Rodman smiles as he kicks a broadcast photographer in the groin.”
Always identify the main people in the photograph.
Avoid making judgments. “An unhappy citizen watches the protest.”
Avoid using terms like “is shown, is pictured, and looks on.”
If the photograph is a historic or file photo, include the date that it was taken. Mayor David Dinkins,1993.
A photograph captures a moment in time. Whenever possible, use present tense. This will creates a sense of immediacy and impact.
Don’t try to be humorous when the picture is not.
Quotes can be an effective device, be willing to use them when they work.

Sequencing the Images:

• When creating a photo slideshow, select a range of images that tell a story and have a narrative arc.
• The intro image should capture the essence of the piece.
• Subsequent images might be portraits of a people or objects that play a central role in the story. Use close ups, wide angle shots of people interacting with each other or with objects.
• Consider the last image carefully: it should be an image that ties the piece together and entices your readers to read the article.

Writing the Captions:

• The intro image should have a caption that contains information that tells us what the story is about.
• The second caption should contain the condensed “nut graph” of the story which gives your audience the significance of the story.
• Do not explain what is obvious in the image, but rather provide additional information that complements the picture.
• Point out what a casual viewer might miss at first blush.
• If there is a central character in the image, provide the who-what-where-when information.
• For each of the above, consider the two following options:
  1. For some images, describe something telling in the image and then provide background info.
  2. For other images, provide background info and then describe something telling in the photo.
• If a photo essay is running along side a story, have information in the captions that draws people to read the story.
• You also have the ability to link to related articles from within the captions. I wouldn’t put in more than one link per caption.
• Even though a couple of images might be repetitive (i.e., a portrait and then a close-up of the same person), include captions on both. Find a creative way to provide information without being repetitive.
• Consider writing a subhead before each caption.

Photographer’s Rights

General guidelines (not to be considered legal advice)

1. You can make a photograph of anything and anyone on any public property, except where a specific law prohibits it. i.e. streets, sidewalks, town squares, parks, government buildings open to the public, and public libraries.

2. You may shoot on private property if it is open to the public, but you are obligated to stop if the owner requests it. i.e. malls, retail stores, restaurants, banks, and office building lobbies.

3. Private property owners can prevent photography ON their property, but not photography OF their property from a public location.

4. Anyone can be photographed without consent when they are in a public place unless there is a reasonable expectation of privacy. i.e. private homes, restrooms, dressing rooms, medical facilities, and phone booths.

5. Despite common misconceptions, the following subjects are almost always permissible:
* accidents, fire scenes, criminal activities
* children, celebrities, law enforcement officers
* bridges, infrastructure, transportation facilities
* residential, commercial, and industrial buildings

6. Security is rarely an acceptable reason for restricting photography. Photographing from a public place cannot infringe on trade secrets, nor is it terrorist activity.

7. Private parties cannot detain you against your will unless a serious crime was committed in their presence. Those that do so may be subject to criminal and civil charges.

8. It is a crime for someone to threaten injury, detention, confiscation, or arrest because you are making photographs.

9. You are not obligated to provide your identity or reason for photographing unless questioned by a law enforcement officer and state law requires it.

10. Private parties have no right to confiscate your equipment without a court order. Even law enforcement officers must obtain one unless making an arrest. No one can force you to delete photos you have made.

These are general guidelines regarding the right to make photos and should not be interpreted as legal advice. If you need legal help, please contact a lawyer.

When confronted, threatened with detention or the confiscation of equipment, ask the following questions:

* What is your name?
* What is the name of your employer?
* May I leave? If not, what is the legal basis of my detention?
* If equipment is being demanded, what is the legal basis for the confiscation?

A few additional things to consider from John Smock.

Police often assume they have absolute authority to prevent pictures from being taken at any time (NYC law is intentionally vague in the subways system to give NYPD greater discretion). While they do not have absolute authority, it’s not a fight students are going to win through a showdown with a beat cop. Find a sergeant. Journalists should have the phone number for NYCDP DCPI with them.

You can shoot in the public part of a private business (the public area in a Starbuck’s or Modell’s) until you are asked to stop. You cannot photograph behind the counter or in the storage area.

Photographing children (more the the point, publishing photographs of children) without parental consent is legally problematic. School are often restricted in the same way hospitals are.

Taking images for publication as news is distinguished from taking pix for commercial purposes. If I photograph someone in a public (or private) place for news purposes, no prob. But, if I want to sell that same photo to an advertiser or for commercial purposes I need written permission for the person photographed and if it’s a private place from owner/manager.

Ethical Guidelines

The National Press Photographers Association Code of Ethics

Visual journalists and those who manage visual news productions are accountable for upholding the following standards in their daily work:

1. Be accurate and comprehensive in the representation of subjects.
2. Resist being manipulated by staged photo opportunities.
3. Be complete and provide context when photographing or recording subjects. Avoid stereotyping individuals and groups. Recognize and work to avoid presenting one’s own biases in the work.
4. Treat all subjects with respect and dignity. Give special consideration to vulnerable subjects and compassion to victims of crime or tragedy. Intrude on private moments of grief only when the public has an overriding and justifiable need to see.
5. While photographing subjects do not intentionally contribute to, alter, or seek to alter or influence events.
6. Editing should maintain the integrity of the photographic images’ content and context. Do not manipulate images or add or alter sound in any way that can mislead viewers or misrepresent subjects.
7. Do not pay sources or subjects or reward them materially for information or participation.
8. Do not accept gifts, favors, or compensation from those who might seek to influence coverage.
9. Do not intentionally sabotage the efforts of other journalists.

Photo-editing Do’s and Don’ts

Sac Bee: Case of the egret

Sree’s Tips on Photo Ethics

Famous examples of digitally manipulated photos

Remember: Pay attention to original sources. This is not Sesame Street.

• Summary of AP and NPPA Ethical Guidelines for Photojournalism
• A Brief History of Fakery A historical look at the issue
• Washington Post Raises Eyebrows, Questions with ‘Composite’ on the Front Page – HDR composites dramatically heighten saturation but is it ethical?
• Who’s a Looter? In Storm’s Aftermath Picture Kicks up Different Tempest – captions can be misleading. Pubs get sued because of a combination of photos and text more often than the get sued for either individually
• Sacramento Bee Fires Bryan Patrick Over Manipulated Photographs blatant manipulation for which the photographer was FIRED
• Doctored Photo Flatters Egyptian President – PR firms, gov’t sanctioned pubs and the public does not operated under the same constraints as journalists. Note the the color of Obama’s tie was changed. Why?
• Manipulating Truth, Losing Credibility – The image was shot for the LA Times but distributed through its network to dozens of publications. The photographer was fired.

World Press Photo Winner Disqualified for Manipulation – Note that he did not get disqualified for the dramatic crop or grainy B&W, but for using the clone stamp tool to remove the foot from behind the hand.

Sample Guidelines:  Reuters

Photoshop is a highly sophisticated image manipulation programme. We use only a tiny part of its potential capability to format our pictures, crop and size them and balance the tone and colour.

Materially altering a picture in Photoshop or any other image editing software will lead to dismissal.

Rules
- No additions or deletions to the subject matter of the original image. (thus changing the original content and journalistic integrity of an image)
- No excessive lightening, darkening or blurring of the image. (thus misleading the viewer by disguising certain elements of an image)
- No excessive colour manipulation. (thus dramatically changing the original lighting conditions of an image)

Guidelines
Only minor Photoshop work should be performed in the field. (Especially from laptops). We require only cropping, sizing and levels with resolution set to 300dpi. Where possible, ask your regional or global picture desks to perform any required further Photo-shopping on their calibrated hi-resolution screens. This typically entails lightening/darkening, sharpening, removal of dust and basic colour correction.

When working under prime conditions, some further minor Photo-shopping (performed within the above rules) is acceptable. This includes basic colour correction, subtle lightening/darkening of zones, sharpening, removal of dust and other minor adjustments that fall within the above rules. Reuters recommendations on the technical settings for these adjustments appear below. All photographers should understand the limitations of their laptop screens and their working environments.