Eye 1: The Frame Shape

This article is part of my series on the study of 'The Photographer's Eye' by Micheal Freeman.

Michael Freeman starts out his book, The Photographer's Eye, by defining the shape of the image we will spend the rest of our study discussing. We call this, the Frame Shape. When we refer to the Frame, we are referring to the area of the image or the dimensional space that the image will occupy. It does not matter what the image is shown on - a camera lcd screen, a monitor, paper, film, etc. The Frame, or Frame Shape, represents the same area.

So what shape is the Frame? There are at least four common shapes. Three of these shapes are rectangular and one is square. The most common of these shapes is the 35mm format from shooting images on film. Digital cameras offer multiple format sizes, though, so whether 35mm remains to be the most common only time will tell.

35mm Frame Size

A 35mm negative has a size ratio of 3:2. This means that for every 3 measurement units across that the negative has, there are 2 of the same measurement units going down. In actuality, a 35mm negative is 36mm x 24mm, but it is referred to as 3:2. Wikpedia has a very good article on 135mm film, more commonly called 35mm film. Note that while 35mm film was introduced in 1934 for still images, it was actually introduced in 1892 by William Dickson and Thomas Edison, according to an article on 35mm film for cinema. In any case, the 35mm format was created to balance the cost of making the film with the quality of the image obtained. This balance was struck well enough that the 35mm format has maintained it's presence for over 100 years.

However, the balance of cost vs quality of image does not necessarily provide an optimal ART format. Creating an image that has meaning and impact may not work as well with a 3:2 format as some other size. For example, many framed images, many art paintings, many magazine and book covers are all some other size ratio than 3:2. So if an image was created in 35mm, it had to be cropped for these uses.

There are images that favor a 35mm format, or a 3:2 Frame. Tall images, like images of the Redwood Forest, favor a 3:2 format because of the long, narrow subject. Buildings, tall waterfalls, long horizons and other length oriented subjects favor the 3:2 Frame.

4:3 Frame Size

It is no accident that many digital cameras now include a 4:3 aspect ratio. As Michael informs us, this ratio or Frame Size "accurately reflects the real world sizes." The 4:3 Frame is much closer to representing the types of images noted above. In fact, the large format camera uses negative sizes that are 4x5. While this isn't an exact representation of the 4:3 Frame Size, it represents an area just a little larger. Thus, cropping to a 4:3 ratio from a 4x5 negative doesn't remove much of the image. This is no accident.

The ratio of 4:3 represents a decimal of 1.3333. That of the 4x5 (which is 5 divided by 4) represents a decimal of 1.25 and 35mm formats (3:2) represents a decimal of 1.5. These decimals can be equated to percentages and represent the increase of the longer side of the image from the shorter side. Since the shorter side of the image must be used to maximize the negative used when cropping, this method of comparison is valid.

Thus, if the best presentation ratio is 4:3, or 133%, then the 4x5 negative at 125% is only 8% less whereas a 35mm negative is 150% or 17% more. The only point here is that to go to a 4:3 Frame Size, a 35mm negative will have more of the image cropped out than a 4x5 camera. Unfortunately, the cost of 4x5 photography is generally far greater than 35mm photography. That is, until the use of digital photography came about providing multiple ratios available with the same equipment.

Wide Image Format

The wide image format, normally using a 16:9 ratio, has also become a common option on digital cameras. This format is increasingly more popular for landscape and panoramic type photography where wide area coverage is desired. Without the ability to stitch multiple images together or capture an image with a wide digital sensor (CCD), the ability to create quality images of this type is limited and potentially much more difficult. Due to the limited application of this Frame Size, we will not discuss it further. However, for specific applications, this format can produce stunning results.

Square Formats

Square formats are not very common because not many images capture a subject which is square in nature. As we will learn going forward, having too much extra space around a subject may detract from the subject itself and not provide a very pleasing image. That being said, there are certainly applications for square images or a square Frame. Circular subjects, square subjects, diamond shaped subjects and subjects grouped in these shapes all lend themselves to a square format. Film and digital formats do not include square negatives, however, and to produce a square Frame, cropping will need to be performed.

Conclusion and Exercises

For an affordable film format, 35mm is the most common. When using a digital camera, frequently the 3:2, 4:3 and 16:9 formats are available giving the photographer a choice of Frame Size to use. Whatever medium a photographer chooses, there will inevitably be cropping involved. Remember to first shoot the image for the composition and crop later. It is better to crop an image than never have captured it to begin with.

For a first exercise, take a group of images shot with any format. Arrange three views of each image cropped to the following ratios: 3:2, 4:3 and square. Print these out in three separate prints or all on one piece of paper. Make notes on them about which Frame you like the best. Note the problems, if any, with the other Frame sizes in presenting the overall image. Use this group of images to create your portfolio for this study of The Photographer's Eye so that you can go back through it as a refresher from time to time. If you are using an electronic program like Adobe Lightroom, you can start a group of Collections and make this the first collection.

I hope you find this study valuable to you and keep watching for the next essay!
... Read More!

Don't forget to visit my photography web site where we sell museum quality black and white prints framed to last up to 175 years - Outdoor Images Fine Art.

Image Sharpening in Lightroom

Be sure to see the overview on Image Sharpening and resources on more information. This article discusses the sharpening tools available in Adobe Lightroom and how to use them effectively.

The sharpening tools are found on the Detail panel in the Developing module. You can see on the left they comprised of sliders labeled Amount, Radius, Detail and Masking. Each of these tools has a specific function towards gaining the sharpest image possible. Comparing these tools to the technique developed by Bruce Fraser, this is the content sharpening. The source sharpening, or first layer sharpening is encompassed in this content sharpening with Lightroom. Since Photoshop has layers, it can more easily separate source and content sharpening. Note that the final sharpening or print sharpening is done through the print module and covered in another article. Hence, we now move on to using these tools discussing each one in turn after briefly touching on the interface. We will discuss the Amount slider last as the direct effect on the image is dependent on the other three sliders.

Lightroom Sharpening Tools - Visual Sharpening At Last!

For those users of Photoshop, sharpening had these difficult to define terms. First there is the tool itself - the Unsharp Mask. Then there is this concept called Radius. How do these work together and what is the effect of the results? Enter Lightroom and although the same terms exist, we now have a visual aid to help us see the results, or at least better predict them.

A single most important step when using the Sharpening tools in Lightroom is to use the ALT key when moving the sliders for Radius, Detail and Masking. The ALT key will show a mask on the screen indicating where the effects of the Amount slider will be felt. The mask view generated by using the ALT key is the same as various layer views in Photoshop. The grey background in the Radius and Detail screens show the area unaffected by sharpening. For the Mask, the black area is unaffected. Thus it becomes easy to see which areas of a photo will be enhanced by the sharpening effect.

The Radius Slider

The radius slider indicates how large of an area around each pixel will be considered when performing the amount of sharpening selected in the Amount slider.

The larger the radius, the coarser the sharpening. Conversely, the smaller the radius the finer the sharpening. This means the larger the radius, the more the contrast. The image above shows a radius of 0.5 (the min) on the left and 3.0 (the max) on the right. Notice on the right hand image how the eyelashes show more contrast, but that the detail is also more lacking. In cases of fine detail levels, a higher radius loses some of those fine details. In cases of wider lines and smoother overall tones without fine details, a large radius may smooth those areas out and add contrast. Typcially, I use a radius value around 1.1 for my sharpening. To see the amount of the radius, press the ALT key and hold it while sliding the Radius slide back and forth. Remember the image must be in the 1:1 or more magnification. This is found on the upper left hand side of Navigator Panel.

The Detail Slider

The Detail slider shows how harsh the grain or pixels will show through on the final image, all based on the Amount slider of course.

The closer the Detail slider is to 100%, the more of the grain and pixels will show. The closer the Detail slider is to 0%, the less of the sharpening is applied to the area. The image above shows the Detail slider at 0% on the left and at 100% on the right. Notice that the image on the left appears soft and needs some sharpening, while the image on the right has brought back a lot of noise from the image. I typically use a Detail sharpening amout of somewhere near 25%.

The Mask Tool

The Mask tool determines the width of the area around the sharp edges that have sharpening applied. This means you can concentrate a high level of radius and detailed sharpening just around the edges of the image. This would leave the smooth toned areas without edges alone. Since a mask is in effect an overlay of where the sharpening can come through the image, a mask of 0% allows the sharpening affect to be applied to the entire image. Conversely, a mask of 100% allows the sharpening through only the brightest of highlights.

The image above shows a mask set to 25% shown with the ALT key held down. Notice that all around the eye, the pupil and the eyelashes is white, indicating the sharpening affect will blend through 100% based on the Amount, Radius and Detail slider positions. Also notice the sharpening will show through the left side of the face and the hair. This is based on the distinctly contrasty edges of the face and hair tones. Also notice the detail around the nose and the highlight on the right side of the face.

Notice in this image, where the Mask is set to 75% the lower amount of area where the sharpening will come through. The areas marked in white will allows 100% of the sharpening affects to come through; the black areas will be blocked 100% and only the original image will be seen in those areas. Notice the very thin lines around the eye and pupil as well as the eyebrow. Also notice the thin line on the left side of the face and hair. A considerable amount of detail has been removed from the mask allowing a more focused sharpening application. I use varying masks depending on the amount of fine detail in the image and the quality of the image. More often than not, I use a higher mask in the 65% to 85% range.

Applying the Tools

The order the sharpening tools are applied is important to estimate how the image will end up being sharpened. I start by moving the Amount slider to somewhere between 20 and 50 depending on how much sharpening I want to apply. Next, I set the Mask slider based on the image to show a reasonably wide width around the major edges. Next I set the Radius slider to 1.0 or 1.1 and move the Detail slider to somewhere near 20%. The Detail slider is last, so I use the feedback from holding down the ALT key to be sure I'm not adding too much noise back. I don't worry too much about noise in the soft toned areas as the mask should take them out. Finally, I zoom in and out to some detailed areas to see how they look.

Remember, too much sharpening is not good at this stage of the image processing. More sharpening will be applied at the print stage. Oversharpening in this content stage will only produce an overly contrasty print that has lost significant detail. It should look good on the screen, but not perfectly sharp.

Conclusion

These tools are essentially the same as the photoshop tools. The largest difference is that you can hold the ALT key and SEE how your sharpening will be applied. Choose the order that works for you to produce images sharpened to your liking. Also, don't forget to work with the preset modules and develop a set of developing presets that you typically apply to an image. This will make your workflow that much more efficient. ... Read More!

Don't forget to visit my photography web site where we sell museum quality black and white prints framed to last up to 175 years - Outdoor Images Fine Art.

My Use of the Term 'Middle Gray'

To keep things simple here, I will refer to the term Middle Gray (or Grey) throughout this Blog. When I refer to this term I am not trying to be scientific and represent a certain percentage of reflected light.

I am merely referring to than greyscale tone that is exactly halfway between pure white and pure black. You might be able to refer to Middle Gray as Pure Gray.

Please do not over-analyze my use of halfway either. I am not trying to distinguish between a logrithmic value halfway between two tones, nor am I trying to distinguish between the relative luminance of a tone between zero light and the brightest light source.

Use the following image: take a strip of paper for each tone that can possibly be created between the colors black and white. This should be an infinite number of paper strips, but find the middle point and take that strip of paper. This tone is what I refer to as Middle Gray. ... Read More!

Don't forget to visit my photography web site where we sell museum quality black and white prints framed to last up to 175 years - Outdoor Images Fine Art.