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PART III SHARING YOUR WORK
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Step 3: Choose the ’scapes. Pull from your photo library (or shoot anew) a set of landscapes, cityscapes, nightscapes, seascapes, snowscapes, or beachscapes. The horizon should be prominent in all of them. Seek a unifying element in content or visual approach. (The same would be true if you were to build a gallery of portraits, sports shots, or abstract photography.) A unity of subject and approach encourages viewers to compare images; don’t let one image upstage the others (for instance, one color shot among a row of black-and-white prints). Keep the quality consistent.
GALLERY
Step 4: Get the effects you want. Use image-editing techniques to retouch, adjust lighting, or work on the color tones of your images. If you are planning to print at 13 x 18 inches, then work with an uncompressed format. If you want to print at 8.5 x 11 inches, a JPEG file should have a measure of 9 inches on the longest dimension at a resolution of 300 dpi. Run a test print to be sure.
John’s dining room. He is not pleased with the lighting.
John offers these tips: “Do a set of images of the same scene at different times of day and night. Get a tripod so that you can do long exposures after dark. The digital me- dium will allow you to expose the details of an image that seems all undifferentiated black on first inspec- tion.” John Hall
Step 5: Print. Specialty photofinishing shops or service bureaus print out large format photographs. The cost of a
13 x 19–inch print is around $25 at Kinko’s, a chain that provides such services. A 24 x 36–inch glossy print (really big) costs around $75. A large-format printer, such as the Epson R2400, runs about $1,000. It requires eight color ink cartridges, each of which costs $15. A sheet of 13 x 19–inch paper is $1.50 for glossy and $2.00 for archival, ultraluster stock.
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CHAPTER 7: PROJECT IDEAS
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John says, “I wanted to pull the viewer’s eye deep inside this ancient temple in Petra, Jordan. With Photo- shop I straightened the columns and adjusted the cropping. I also did color adjustments to bring out the earth- tone stains in the stone.” John Hall