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artists work its called midtone ?
Wiki User
∙ 10y ago
The midtone refers to the middle value in a range of tones or colors. It is neither too light nor too dark, and helps to establish the overall balance and contrast in an image. In terms of Photography or design, midtones play a crucial role in defining the overall mood and feel of the composition.
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What is an image where a tonal distribution is mainly in the highlight to midtone region called?
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Is chocolate a cat?
The question doesn't make much sense, but you CAN get chocolate cats. The term Chocolate refers to a light/midtone brown colour of the fur.
How does photo editing affect perception?
Human vision is incredibly adaptive so you can see in bright sunlight on a ski-slope during mid-day and at night on the highway to drive home. But this adaptability being essentially automatic and subliminal can be a disadvantage because your perception of small brightness differences between screen and print is not obvious until the print becomes a physical reality that makes it apparent. How this possibly occurs even if your display is calibrated and profiled is because although the display profile is referenced by Photoshop or other color managed applications, whatever the display values are, they are translated to the parameters defined by the workspace profile. In other words the high range of brightness values that characterizes an LCD display are interpolated into the color values dictated by the Adobe RGB (1998) workspace profile for instance, which is static, and then those values are actually displayed in that longer brightness range of the LCD display, and nothing in calibration and profiling reflects the value differential and difference in midtone value that could be passed on through to a printer driver and printer profile in the process of making a print. So that is where the Output Transfer adjustment function to produce a perceptually brighter print comes in I have suggested, or the alternative of incorporating the correction in a custom printer profile. The fact the midtone setting is based on the longer brightness range of the LCD rather than the shorter range for accurate print output has to be has to be estimated and assumed to adjust output manually. The alternate suggested custom profile for output brightness correction of course is a relatively expensive and sophisticated solution that is an advantage because it will work for all photographers who use Elements, Lightroom. Aperture or iPhoto and do not have Adobe Photoshop CS' Output Transfer to adjust print brightness to print from. What I have really said is that human visual perception is individually adaptive and therefore dynamic, but a color managed digital photo editing and processing system is essentially static and is not capable of accommodating the relative brightness range difference between LCD displays and print output. The result is the "ubiquitous" problem "my prints are too dark", often caused by the brightness range of LCD displays influencing misplacement of the midtone setting to affect printing. So it should be evident the solution is to make the Color Management system dynamic and capable of sensing the differential between display brightness range and print output potential so the output matches the screen's expectation of what the print should look like. Unfortunately that would demand a major overhaul of the ICC color management structure standards, and is not likely to happen anytime soon if at all. The alternative is to get application software companies to recognize the problem and introduce an adjustment like the Output Transfer function that is more direct and as easy as an adjustment slider in the Print dialogue to facilitate making the print output lighter or darker. An adjunct to a slider solution could be a much more sophisticated and accurate print preview in the Print dialogue window. That would make the adjustment process perceptual rather than trial and error, as is the case using the Output Transfer function. Of course I will do what I can to get such a software solution made available, but the more input from reader/users there is, the more weight there is in the balance in favor of making such a change
How does photo-editing affect perception?
Human vision is incredibly adaptive so you can see in bright sunlight on a ski-slope during mid-day and at night on the highway to drive home. But this adaptability being essentially automatic and subliminal can be a disadvantage because your perception of small brightness differences between screen and print is not obvious until the print becomes a physical reality that makes it apparent. How this possibly occurs even if your display is calibrated and profiled is because although the display profile is referenced by Photoshop or other color managed applications, whatever the display values are, they are translated to the parameters defined by the workspace profile. In other words the high range of brightness values that characterizes an LCD display are interpolated into the color values dictated by the Adobe RGB (1998) workspace profile for instance, which is static, and then those values are actually displayed in that longer brightness range of the LCD display, and nothing in calibration and profiling reflects the value differential and difference in midtone value that could be passed on through to a printer driver and printer profile in the process of making a print. So that is where the Output Transfer adjustment function to produce a perceptually brighter print comes in I have suggested, or the alternative of incorporating the correction in a custom printer profile. The fact the midtone setting is based on the longer brightness range of the LCD rather than the shorter range for accurate print output has to be has to be estimated and assumed to adjust output manually. The alternate suggested custom profile for output brightness correction of course is a relatively expensive and sophisticated solution that is an advantage because it will work for all photographers who use Elements, Lightroom. Aperture or iPhoto and do not have Adobe Photoshop CS' Output Transfer to adjust print brightness to print from. What I have really said is that human visual perception is individually adaptive and therefore dynamic, but a color managed digital photo editing and processing system is essentially static and is not capable of accommodating the relative brightness range difference between LCD displays and print output. The result is the "ubiquitous" problem "my prints are too dark", often caused by the brightness range of LCD displays influencing misplacement of the midtone setting to affect printing. So it should be evident the solution is to make the Color Management system dynamic and capable of sensing the differential between display brightness range and print output potential so the output matches the screen's expectation of what the print should look like. Unfortunately that would demand a major overhaul of the ICC color management structure standards, and is not likely to happen anytime soon if at all. The alternative is to get application software companies to recognize the problem and introduce an adjustment like the Output Transfer function that is more direct and as easy as an adjustment slider in the Print dialogue to facilitate making the print output lighter or darker. An adjunct to a slider solution could be a much more sophisticated and accurate print preview in the Print dialogue window. That would make the adjustment process perceptual rather than trial and error, as is the case using the Output Transfer function. Of course I will do what I can to get such a software solution made available, but the more input from reader/users there is, the more weight there is in the balance in favor of making such a change
Technique for oil painting bricks on canvass?
Painting a fully lit red brick wall with no major areas of cast shadow: Burnt Sienna, cad yellow, cad red, burnt umber, yellow ochre and white. 1/4 to 1" bristle and sable bright brushes First: assume the since a real wall's surface is handmade, ergo irregular, both as individual units (bricks) and as finaished surface (wall)its color will therefore be irregular and varied as a color "field" because each brick is slightly different and the light will strike the wall unevenly. This is good news! It saves you from the tedium of "getting it just right." Choose the direction from with light falls across the brick wall, lets say from up left at about 10 o'clock high, so to speak. Now paint the entire wall as a single midtone, brick color without trying to make the color uniformly mixed. Onto this "mass tone" loosely brush in more irregularities of lighter (tending to the yellows) and darker tones (tending to the umbers). DO NOT BEGIN BY TRYING TO PAINT INDIVIDUAL BRICKS. Try to paint what you would see if you squinted just enough to be unable to see the mortar. Make the wall slightly darker in its mass tones as it draws closer to the side where the light is closest (the upper left wall) and slightly lighter on the side away from the light (lower right.) Now use the sable brush, a 1/2 or 1" is fine. Make a puddle of ochre, white and umber lighter than your brick mass tones, but now so light it looks white on the canvas. With the widest surface of the brush flat on the palette draw the brush TOWARD you through the paint repeatedly, one side then the other creating a flat, sharp chisel shape. Touch the brush lightly which will make a this straight line the width of your brush (a 1" brush will leave a 1" line), a light pressure will leave a five mark. Lift the brush, move to the end of the first mark and lightly touch again. You will now have a 2" line. Repeat, frequently wiping and re-loading the brush in the described way. Make groups of parallel mortar lines. Its not important to make them all. Youre trying to get the viewer to have a 'Hey, look, its mortar! reaction, not- geese look at all those fat lines) Make a few tiny vertical "lines" of mortar color here and there, always alternating so that each vertical line splits one brick and bumps the middle of the brick below and above it. After the first application sets you can rework the entire process with more limited applications, perhaps adding an occasional fleck of lights and darks to individual bricks (lights on the upper left which hangs out from the mortar to reach the light and darks on the lower right which is shaded by the opposite effect.) Just remember, unevenness is the nature of the real thing so don't try to be precise. JGrant Painting a fully lit red brick wall with no major areas of cast shadow: Burnt Sienna, cad yellow, cad red, burnt umber, yellow ochre and white. 1/4 to 1" bristle and sable bright brushes First: assume the since a real wall's surface is handmade, ergo irregular, both as individual units (bricks) and as finaished surface (wall)its color will therefore be irregular and varied as a color "field" because each brick is slightly different and the light will strike the wall unevenly. This is good news! It saves you from the tedium of "getting it just right." Choose the direction from with light falls across the brick wall, lets say from up left at about 10 o'clock high, so to speak. Now paint the entire wall as a single midtone, brick color without trying to make the color uniformly mixed. Onto this "mass tone" loosely brush in more irregularities of lighter (tending to the yellows) and darker tones (tending to the umbers). DO NOT BEGIN BY TRYING TO PAINT INDIVIDUAL BRICKS. Try to paint what you would see if you squinted just enough to be unable to see the mortar. Make the wall slightly darker in its mass tones as it draws closer to the side where the light is closest (the upper left wall) and slightly lighter on the side away from the light (lower right.) Now use the sable brush, a 1/2 or 1" is fine. Make a puddle of ochre, white and umber lighter than your brick mass tones, but now so light it looks white on the canvas. With the widest surface of the brush flat on the palette draw the brush TOWARD you through the paint repeatedly, one side then the other creating a flat, sharp chisel shape. Touch the brush lightly which will make a this straight line the width of your brush (a 1" brush will leave a 1" line), a light pressure will leave a five mark. Lift the brush, move to the end of the first mark and lightly touch again. You will now have a 2" line. Repeat, frequently wiping and re-loading the brush in the described way. Make groups of parallel mortar lines. Its not important to make them all. Youre trying to get the viewer to have a 'Hey, look, its mortar! reaction, not- geese look at all those fat lines) Make a few tiny vertical "lines" of mortar color here and there, always alternating so that each vertical line splits one brick and bumps the middle of the brick below and above it. After the first application sets you can rework the entire process with more limited applications, perhaps adding an occasional fleck of lights and darks to individual bricks (lights on the upper left which hangs out from the mortar to reach the light and darks on the lower right which is shaded by the opposite effect.) Just remember, unevenness is the nature of the real thing so don't try to be precise. JGrant Painting a fully lit red brick wall with no major areas of cast shadow: Burnt Sienna, cad yellow, cad red, burnt umber, yellow ochre and white. 1/4 to 1" bristle and sable bright brushes First: assume the since a real wall's surface is handmade, ergo irregular, both as individual units (bricks) and as finaished surface (wall)its color will therefore be irregular and varied as a color "field" because each brick is slightly different and the light will strike the wall unevenly. This is good news! It saves you from the tedium of "getting it just right." Choose the direction from with light falls across the brick wall, lets say from up left at about 10 o'clock high, so to speak. Now paint the entire wall as a single midtone, brick color without trying to make the color uniformly mixed. Onto this "mass tone" loosely brush in more irregularities of lighter (tending to the yellows) and darker tones (tending to the umbers). DO NOT BEGIN BY TRYING TO PAINT INDIVIDUAL BRICKS. Try to paint what you would see if you squinted just enough to be unable to see the mortar. Make the wall slightly darker in its mass tones as it draws closer to the side where the light is closest (the upper left wall) and slightly lighter on the side away from the light (lower right.) Now use the sable brush, a 1/2 or 1" is fine. Make a puddle of ochre, white and umber lighter than your brick mass tones, but now so light it looks white on the canvas. With the widest surface of the brush flat on the palette draw the brush TOWARD you through the paint repeatedly, one side then the other creating a flat, sharp chisel shape. Touch the brush lightly which will make a this straight line the width of your brush (a 1" brush will leave a 1" line), a light pressure will leave a five mark. Lift the brush, move to the end of the first mark and lightly touch again. You will now have a 2" line. Repeat, frequently wiping and re-loading the brush in the described way. Make groups of parallel mortar lines. Its not important to make them all. Youre trying to get the viewer to have a 'Hey, look, its mortar! reaction, not- geese look at all those fat lines) Make a few tiny vertical "lines" of mortar color here and there, always alternating so that each vertical line splits one brick and bumps the middle of the brick below and above it. After the first application sets you can rework the entire process with more limited applications, perhaps adding an occasional fleck of lights and darks to individual bricks (lights on the upper left which hangs out from the mortar to reach the light and darks on the lower right which is shaded by the opposite effect.) Just remember, unevenness is the nature of the real thing so don't try to be precise. JGrant
