CreativeLive Classes
since: 2018/11/18
update: 2019/02/15
reference:
1. CreativeLive: Free Live Online Classes
2. Camera Raw 增效模組安裝程式
3. Homepage - Nik Collection by DxO
4. Tonality | Skylum
5. New Guide Layout In Photoshop CC
---------------------------------------------------------------------------
A. Q&A
Q1: When I play the lesson movie, I see a "cc" tag, and click to english, but i still can see any subtitle.
A1: If you are trying to watch your class on the website, the captioning happens below the view screen. In the transcript below, the words will become bold when the instructor says them.
p.s. cc means Closed Captions(隱藏式字幕)
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
Q2: I try to watch my class through the app on iOS device (iPhone 7), but can not find subtitle again.
A2: At this time we do not have a setting within the app itself to turn on/off captions, but they can be turned on by adjusting the setting on your iPhone within the Accessibility area.
Within the latest version of iOS the menu can be found by going to Settings > General > Accessibility > Closed Captions + SDH.
If you turn that setting "on" the captions should show.
步驟ㄧ:
步驟二:
步驟三:
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
Q3: At the end of each phase of the course's video, the final subtitles seem to be incomplete..
A3: This sounds like a possible browser issue, so could you please try the troubleshooting steps below:
Log out of CL.com and log back in
Clear your browser cache/Reset your browser (Wiki)
Try a different internet browser (i.e. Chrome, etc.)
Try updating your internet browser(s) to the most recent version
---------------------------------------------------------------------------
B. My Library (Owned Classes)
1. Introduction to Large Format Photography
---------------------------------------------------------------------------
2. Introduction to Black & White Film Photography
Film chemistry
底片化學
Developers
顯影劑
There are a number of film developers still available today. If you wanted to try something not currently available, you could always use one of the formulas in the various film cookbooks and chemistry from one of the suppliers mentioned below. If you want to know about film and developers, pick up a copy of Steve Anchell’s The Film Developing Cookbook.
目前仍有許多電影開發商可以使用。 如果您想嘗試一些當前不可用的東西，您可以隨時使用下面提到的供應商提供的各種電影烹飪書和化學中的一種配方。 如果你想了解電影和開發者，請選擇Steve Anchell的The Film Developing Cookbook。As Anchell notes in his book, developers are broken down into two groups—solvent and non- solvent.
正如Anchell在他的書中指出的那樣，顯影劑分為兩組 - 溶劑型和非溶劑型。
Solvent developers are used to reduce the impact of the grain. They can produce less contrast and sharpness when compared to some non-solvent developers; however, many fine grain developers still produce sharp grain effects.
溶劑顯影劑用於減少穀物的影響。 與一些非溶劑型顯影劑相比，它們可以產生更低的對比度和清晰度; 然而，許多細粒晶粒開發商仍然產生尖銳的晶粒效應。註解: 較適合小片幅底片
Non-solvent developers focus more on adjacent effects and acutance of the film grain. Prints from smaller formats will show more pronounced grain. While some non- solvent developers are speed increasing (lift in shadow detail), they are best for long-scale tonal gradations because of their compensating abilities.
非溶劑型顯影劑更關注膠片顆粒的相鄰效應和銳度。 較小格式的打印將顯示更明顯的紋理。 雖然一些非溶劑型顯影劑的速度增加（陰影細節提升），但由於它們的補償能力，它們最適合長時間的色調漸變。
註解: 較適合大片幅底片
Kodak D-76—Introduced in 1927, D-76 is the classic film developer. Comes as a powder and is mixed with water to create a stock solution that can then be diluted. D-76 works well as both a stock solution and at 1:1. When diluted to 1:3 it displays some characteristics of a non-solvent developer. ID-11 from Ilford is essentially the same product. (solvent developer)
柯達D-76-D-76於1927年推出，是經典的底片顯影劑。 以粉末形式存在並與水混合，形成可以稀釋的儲備溶液。 D-76既可以作為庫存解決方案，也可以1：1。 當稀釋至1：3時，它顯示出非溶劑顯影劑的一些特徵。 Ilford的ID-11基本上是同一產品。 （溶劑顯影劑）
註解: 1:1 溶劑顯影特徵 適合 小片幅底片
1:3 非溶劑顯影特徵 適合 大片幅底片
Kodak XTOL—A relatively new developer. Very flexible in its ability to work in variety of temperatures and dilutions. Often gives fine grain and increased shadow detail at same film speed as other developers. Comes in two packets that get mixed into 5 liters as a stock solution that can then be diluted as needed. Kodak doesn’t recommend less than 1:1 dilution, but many people have favorable results at 1:2 or even 1:3 that can induce some of the non-solvent qualities. (solvent developer)
柯達XTOL-一個相對較新的顯影劑。 在各種溫度和稀釋度下工作的能力非常靈活。 通常以與其他開發者相同的底片速度提供細粒度和增加的陰影細節。 加入兩個混合成5升的包裝作為原液，然後根據需要進行稀釋。 柯達不建議稀釋度小於1：1，但很多人在1：2甚至1：3時都有良好的效果，可以產生一些非溶劑性質。 （溶劑顯影劑）
註解: 原液 或 1:1 溶劑顯影特徵 適合 小片幅底片
1:2 或 1:3 非溶劑顯影特徵 適合 大片幅底片
Kodak HC110—An extremely versatile developer. HC-110 produces a really nice tonal scale, minimal grain increase, nice definition, and it works for both massive expansion and contraction of some films. It is considered a more environmentally friendly developer, because formulation has smaller amounts of chemicals required. (non-solvent developer)
柯達HC110-極其多功能的開發人員。 HC-110產生非常好的色調比例，最小的顆粒增加，清晰的定義，並且它適用於某些膠片的大規模膨脹和收縮。 它被認為是一種更環保的開發商，因為配方中所需的化學品含量較少。 （非溶劑顯影劑）
註解: 非溶劑顯影特徵 適合 大片幅底片
Ilford Perceptol—A nice developer that produces nice shape images for a solvent developer and has nice tonal range. (solvent developer)
Ilford Perceptol - 一個很好的顯影劑，可為溶劑顯影劑生成漂亮的形狀圖像，並具有良好的色調範圍。 （溶劑顯影劑）
Rodinal (RO9)—One of our oldest developers (1881). Can be used at a variety of dilutions. The lower the dilution the more aggressive the developer is on defining the grain, high sharpness, and it creates wonderful tonal gradations. Considered a speed-increasing developer. Used anywhere from 1:15 to 1:100. Has a long shelf life and can be used for long stand development techniques. (non- solvent developer, and works well with tabular films)
Rodinal（RO9） - 我們最古老的開發商之一（1881年）。 可用於各種稀釋。 稀釋度越低，顯影劑在定義顆粒時越具侵略性，清晰度越高，並且產生美妙的色調漸變。 被認為是一個提速的開發者。 在1:15到1：100之間使用。 保質期長，可用於長期開發技術。 （非溶劑型顯影劑，適用於表格薄膜）
Pyro—Pyro is an aggressive developer that stains the film as it develops. While more toxic than other developers, it offers smooth tonal ranges and increased sharpest at the same time. That balance is not possible with metol-based developers. (tanning developer)Pyro-Pyro是一種侵蝕性顯影劑，可隨著膠片的發展而染色。 雖然比其他顯影劑毒性更大，但它提供了平滑的色調範圍，同時提高了銳度。 基於metol的開發人員無法實現這種平衡。 （制革顯影劑）
15. Scanning Your Own Negatives Demo/Guidelines
---------------------------------------------------------------------------
3. Introduction to Alternative Processing in Photography
Working With Black and White Digital Images- Color Settings
參考: 1. colorthink pro
目前採用此設定:
或者:
參考:
Epson V850
Working with Black and White Digital Images Lightroom
a. 從 Lightroom 讀入檔案
b. 轉成黑白(快數鍵: V)
c. 調整色調
d. 色溫與色調調整:(在黑白轉換方面會產生巨大差異)
e. 對比度調整:
方式一: 按住 Shift 鍵並分別雙擊單詞 Blacks 與 Whites，它將自動找到白點和黑點。
方式二: 按住 Alt 鍵或 Option 鍵。 會使屏幕變成黑色或白色，然後當你拖動滑塊。
f. 分割色調: 不建議使用
原因: 我們不想在其中添加任何人工色調.
Working With Black and White Digital Images Photoshop
方式一:
1. 在 Lightroom 中, 將編輯的檔案在 Photoshop 開啟為智慧物件.
2. 在 Photoshop 中的結果
3. 在 Photoshop 中, 透過拷貝新增智慧型物件.
4. 在 Photoshop 中的結果: 二者相互獨立, 不會互相影響
雙擊右下方的圖示, 可切換到 CameraRaw 裡.
5. 在 CameraRaw 裡, 調整基本設定.
6. 在 CameraRaw 裡, 調整 HSL / 灰階.
方式二:
1. 在 Photoshop 中建立新的黑白圖層.
2. 結果:
3. 選取黑白預設集.
方式三: 色版與色版混合器
1. 切換到色版頁籤
2.點選不同的顏色通道, 觀察圖片的差異.
3. 新增色版混合器.
4.先將影像設成單色, 然後再調整不同顏色的通道值.
(p.s. 總數可以超過 100%, 建議約 120% ~ 125% 作為起始點)
方式四: 色相與飽和度
1.新增照片的 色相/飽和度 圖層.
2. 在所新增的圖層中, 再新增一次: 色相/飽和度 圖層.
3.將上方圖層的飽和度去除(設為 -100)
4.選取下方圖層, 並選擇特定顏色通道.
5.調整其明亮值.
Working With Black and White Digital Images 3rd Party Plug-ins
Silver Effects:
Photoshop:
Lightroom:
Tonality:
Photoshop:
Avoiding Key Artifacts
1. 250 以上的階調, 無法在現代紙張上顯示任何細節.
2. 利用噪點來模擬顆粒感.
3. 利用曲線來調整整體亮度.
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Memo for Introduction to Alternative Processing in Photography
A. Caring for the Digital Negative
1. 數位負片保護套
ex: ClearFile Print Protector
備註: 數位負片: pictorico
2.這種被稱為 rubylith 的紅色材料，它被絲綢篩選者(silk screeners)使用。
這會阻擋 100％ 的紫外線，因此會形成邊界。
3. 一般來說，大多數人都希望在藝術作品中出現邊界，因為這是藝術形式的一部分。
我們創建圖像的方式的一部分就是擁有那些美麗的彩繪邊緣。 這是一種標誌性的標誌。
你想在邊緣留下多少刷痕。 在某些方面確實成為攝影師工作方式的標誌。
B. Intro to Cyanotypes and Safety
1. safety glasses: 保護眼鏡
2. Nitrile gloves 丁腈手套: 丁腈是丙烯腈-丁二烯橡胶; 黑色: 用于汽车。
3. chemical mask: 化學面膜, 用於微粒或煙霧的面罩
mask that works for particulate or fumes
這個墨盒用於顆粒，我有一個用於菸霧，我有一個可以同時使用。
This cartridge is for particulate, I have ones for fumes and I have one that does both.
我在混合乾化學的時候隨便穿這個。
I wear this anytime I'm mixing dry chemistry.
4. apron or longer sleeves: 圍裙或長袖
5. 確保任何有多孔表面的東西都受到某種塑料的保護，這樣化學品就不會滲入桌子。
6. 確保所有內容都有標籤。以下是來自 Bostick 和 Sullivan的 工具包的第一部分，
即青色，A和B部分。
---------------------------------------------------------------------------
update: 2019/02/15
reference:
1. CreativeLive: Free Live Online Classes
2. Camera Raw 增效模組安裝程式
3. Homepage - Nik Collection by DxO
4. Tonality | Skylum
5. New Guide Layout In Photoshop CC
---------------------------------------------------------------------------
A. Q&A
Q1: When I play the lesson movie, I see a "cc" tag, and click to english, but i still can see any subtitle.
A1: If you are trying to watch your class on the website, the captioning happens below the view screen. In the transcript below, the words will become bold when the instructor says them.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
Q2: I try to watch my class through the app on iOS device (iPhone 7), but can not find subtitle again.
A2: At this time we do not have a setting within the app itself to turn on/off captions, but they can be turned on by adjusting the setting on your iPhone within the Accessibility area.
Within the latest version of iOS the menu can be found by going to Settings > General > Accessibility > Closed Captions + SDH.
If you turn that setting "on" the captions should show.
步驟ㄧ:
步驟二:
步驟三:
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
Q3: At the end of each phase of the course's video, the final subtitles seem to be incomplete..
A3: This sounds like a possible browser issue, so could you please try the troubleshooting steps below:
Log out of CL.com and log back in
Clear your browser cache/Reset your browser (Wiki)
Try a different internet browser (i.e. Chrome, etc.)
Try updating your internet browser(s) to the most recent version
B. My Library (Owned Classes)
1. Introduction to Large Format Photography
---------------------------------------------------------------------------
2. Introduction to Black & White Film Photography
Film chemistry
底片化學
Developers
顯影劑
There are a number of film developers still available today. If you wanted to try something not currently available, you could always use one of the formulas in the various film cookbooks and chemistry from one of the suppliers mentioned below. If you want to know about film and developers, pick up a copy of Steve Anchell’s The Film Developing Cookbook.
目前仍有許多電影開發商可以使用。 如果您想嘗試一些當前不可用的東西，您可以隨時使用下面提到的供應商提供的各種電影烹飪書和化學中的一種配方。 如果你想了解電影和開發者，請選擇Steve Anchell的The Film Developing Cookbook。As Anchell notes in his book, developers are broken down into two groups—solvent and non- solvent.
正如Anchell在他的書中指出的那樣，顯影劑分為兩組 - 溶劑型和非溶劑型。
Solvent developers are used to reduce the impact of the grain. They can produce less contrast and sharpness when compared to some non-solvent developers; however, many fine grain developers still produce sharp grain effects.
溶劑顯影劑用於減少穀物的影響。 與一些非溶劑型顯影劑相比，它們可以產生更低的對比度和清晰度; 然而，許多細粒晶粒開發商仍然產生尖銳的晶粒效應。註解: 較適合小片幅底片
Non-solvent developers focus more on adjacent effects and acutance of the film grain. Prints from smaller formats will show more pronounced grain. While some non- solvent developers are speed increasing (lift in shadow detail), they are best for long-scale tonal gradations because of their compensating abilities.
非溶劑型顯影劑更關注膠片顆粒的相鄰效應和銳度。 較小格式的打印將顯示更明顯的紋理。 雖然一些非溶劑型顯影劑的速度增加（陰影細節提升），但由於它們的補償能力，它們最適合長時間的色調漸變。
註解: 較適合大片幅底片
Kodak D-76—Introduced in 1927, D-76 is the classic film developer. Comes as a powder and is mixed with water to create a stock solution that can then be diluted. D-76 works well as both a stock solution and at 1:1. When diluted to 1:3 it displays some characteristics of a non-solvent developer. ID-11 from Ilford is essentially the same product. (solvent developer)
柯達D-76-D-76於1927年推出，是經典的底片顯影劑。 以粉末形式存在並與水混合，形成可以稀釋的儲備溶液。 D-76既可以作為庫存解決方案，也可以1：1。 當稀釋至1：3時，它顯示出非溶劑顯影劑的一些特徵。 Ilford的ID-11基本上是同一產品。 （溶劑顯影劑）
註解: 1:1 溶劑顯影特徵 適合 小片幅底片
1:3 非溶劑顯影特徵 適合 大片幅底片
Kodak XTOL—A relatively new developer. Very flexible in its ability to work in variety of temperatures and dilutions. Often gives fine grain and increased shadow detail at same film speed as other developers. Comes in two packets that get mixed into 5 liters as a stock solution that can then be diluted as needed. Kodak doesn’t recommend less than 1:1 dilution, but many people have favorable results at 1:2 or even 1:3 that can induce some of the non-solvent qualities. (solvent developer)
柯達XTOL-一個相對較新的顯影劑。 在各種溫度和稀釋度下工作的能力非常靈活。 通常以與其他開發者相同的底片速度提供細粒度和增加的陰影細節。 加入兩個混合成5升的包裝作為原液，然後根據需要進行稀釋。 柯達不建議稀釋度小於1：1，但很多人在1：2甚至1：3時都有良好的效果，可以產生一些非溶劑性質。 （溶劑顯影劑）
註解: 原液 或 1:1 溶劑顯影特徵 適合 小片幅底片
1:2 或 1:3 非溶劑顯影特徵 適合 大片幅底片
Kodak HC110—An extremely versatile developer. HC-110 produces a really nice tonal scale, minimal grain increase, nice definition, and it works for both massive expansion and contraction of some films. It is considered a more environmentally friendly developer, because formulation has smaller amounts of chemicals required. (non-solvent developer)
柯達HC110-極其多功能的開發人員。 HC-110產生非常好的色調比例，最小的顆粒增加，清晰的定義，並且它適用於某些膠片的大規模膨脹和收縮。 它被認為是一種更環保的開發商，因為配方中所需的化學品含量較少。 （非溶劑顯影劑）
註解: 非溶劑顯影特徵 適合 大片幅底片
Ilford Perceptol—A nice developer that produces nice shape images for a solvent developer and has nice tonal range. (solvent developer)
Ilford Perceptol - 一個很好的顯影劑，可為溶劑顯影劑生成漂亮的形狀圖像，並具有良好的色調範圍。 （溶劑顯影劑）
Rodinal (RO9)—One of our oldest developers (1881). Can be used at a variety of dilutions. The lower the dilution the more aggressive the developer is on defining the grain, high sharpness, and it creates wonderful tonal gradations. Considered a speed-increasing developer. Used anywhere from 1:15 to 1:100. Has a long shelf life and can be used for long stand development techniques. (non- solvent developer, and works well with tabular films)
Rodinal（RO9） - 我們最古老的開發商之一（1881年）。 可用於各種稀釋。 稀釋度越低，顯影劑在定義顆粒時越具侵略性，清晰度越高，並且產生美妙的色調漸變。 被認為是一個提速的開發者。 在1:15到1：100之間使用。 保質期長，可用於長期開發技術。 （非溶劑型顯影劑，適用於表格薄膜）
Pyro—Pyro is an aggressive developer that stains the film as it develops. While more toxic than other developers, it offers smooth tonal ranges and increased sharpest at the same time. That balance is not possible with metol-based developers. (tanning developer)Pyro-Pyro是一種侵蝕性顯影劑，可隨著膠片的發展而染色。 雖然比其他顯影劑毒性更大，但它提供了平滑的色調範圍，同時提高了銳度。 基於metol的開發人員無法實現這種平衡。 （制革顯影劑）
15. Scanning Your Own Negatives Demo/Guidelines
3. Introduction to Alternative Processing in Photography
參考: 1. colorthink pro
目前採用此設定:
或者:
參考:
Epson V850
Working with Black and White Digital Images Lightroom
a. 從 Lightroom 讀入檔案
方式一: 按住 Shift 鍵並分別雙擊單詞 Blacks 與 Whites，它將自動找到白點和黑點。
方式二: 按住 Alt 鍵或 Option 鍵。 會使屏幕變成黑色或白色，然後當你拖動滑塊。
原因: 我們不想在其中添加任何人工色調.
Working With Black and White Digital Images Photoshop
方式一:
1. 在 Lightroom 中, 將編輯的檔案在 Photoshop 開啟為智慧物件.
2. 在 Photoshop 中的結果
3. 在 Photoshop 中, 透過拷貝新增智慧型物件.
4. 在 Photoshop 中的結果: 二者相互獨立, 不會互相影響
雙擊右下方的圖示, 可切換到 CameraRaw 裡.
5. 在 CameraRaw 裡, 調整基本設定.
6. 在 CameraRaw 裡, 調整 HSL / 灰階.
1. 在 Photoshop 中建立新的黑白圖層.
2. 結果:
3. 選取黑白預設集.
方式三: 色版與色版混合器
1. 切換到色版頁籤
2.點選不同的顏色通道, 觀察圖片的差異.
3. 新增色版混合器.
4.先將影像設成單色, 然後再調整不同顏色的通道值.
(p.s. 總數可以超過 100%, 建議約 120% ~ 125% 作為起始點)
1.新增照片的 色相/飽和度 圖層.
2. 在所新增的圖層中, 再新增一次: 色相/飽和度 圖層.
3.將上方圖層的飽和度去除(設為 -100)
4.選取下方圖層, 並選擇特定顏色通道.
5.調整其明亮值.
Silver Effects:
Photoshop:
Photoshop:
Avoiding Key Artifacts
1. 250 以上的階調, 無法在現代紙張上顯示任何細節.
Memo for Introduction to Alternative Processing in Photography
A. Caring for the Digital Negative
1. 數位負片保護套
ex: ClearFile Print Protector
2.這種被稱為 rubylith 的紅色材料，它被絲綢篩選者(silk screeners)使用。
這會阻擋 100％ 的紫外線，因此會形成邊界。
3. 一般來說，大多數人都希望在藝術作品中出現邊界，因為這是藝術形式的一部分。
我們創建圖像的方式的一部分就是擁有那些美麗的彩繪邊緣。 這是一種標誌性的標誌。
你想在邊緣留下多少刷痕。 在某些方面確實成為攝影師工作方式的標誌。
B. Intro to Cyanotypes and Safety
1. safety glasses: 保護眼鏡
mask that works for particulate or fumes
This cartridge is for particulate, I have ones for fumes and I have one that does both.
我在混合乾化學的時候隨便穿這個。
I wear this anytime I'm mixing dry chemistry.
4. apron or longer sleeves: 圍裙或長袖
即青色，A和B部分。
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