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DIGITAL DOCUMENTARIES WORKSHOPSITKA FINE ARTS CAMP

Sitka, Alaska

Digital Photo and Web Building WorkshopDigital Imaging & Web Design

www.fineartscamp.org

1. Teacher Statement

2. Lesson Plan Table

3. Course Overview

Introduction

Faculty

Goals

Methods and Procedures

Curriculum

Project Parameters

5. Technology Specifications

6. Forms and Handouts

7. Introduction to Photography

Introduction to Digital Cameras

8. Tutorials

DIGITAL DOCUMENTARY

CONTENTS PAGE

Digital Documentary Photo of the Class in Clown Theater

As an Art and Computer Graphics educator, I have learned the power ofcombining technology with creativity. Because this combination is soempowering, I have organized many opportunities to reach out tocommunities that are out of the main stream who benefit from experi-encing new technologies in a creative setting. The opportunity to con-duct a digital photo workshop in Alaska seemed like a good chance todo this. Little did I know that Alaska is the best wired state in the Unionbecause of the many remote communities. For many students in Alaska,the computer and the Internet are familiar tools for communication.Students in the Digital Documentaries Workshop brought a high level ofcomputer literacy to the classroom which served to develop confidencein their work and speed the project to completion in a very short time.

The challenge of the Digital Documentaries Workshop was to assistCampers, who came to the Sitka Fine Arts Camp from widely diversecommunities, to become comfortable in the camp environment andwork easily in teams. Students from major Alaskan cities worked withstudents from small Native communities and home schooled studentsfrom island communities with populations of under 200 people. SomeNative American students lived in such small, close communities that itwas not necessary to exchange words and responses were conveyed byraised eyebrows or widening eyes. For some students the dense, temper-ate rain forest of the Baranoff Island, with limited views and mountain-ous horizons was unsettling. Needless to say, there were many studentswho were shy and somewhat intimidated at the beginning of camp.

However, these same shy students brought with them very high levels ofcomputer literacy and their success in the computer lab soon createdconfidence in even the shyest Camper. The chance to explore the entirecamp in teams and view this new environment by using new digitalcameras soon turned reticence into enthusiasm.

DIGITAL DOCUMENTARYTEACHER’S STATEMENT

Pat Johnson

Pat Johnson assisting the youngest camper in classwith a question about Adobe Photoshop

The 32 diverse students, ranging in age from 12 to 18, were soonforged into well organized teams. Together they captured and editedup to 200 images per day and built a full Adobe GoLive Web site forthe camp in the record time of ten, class sessions.

This project, combining creativity and technology, gave campers from all corners of Alaska the chance to learn about each other and gain highlevels of confidence by mastering digital tools and assisting others in their classes. According to camp organizers, the empowering nature oftechnology gave many previously shy campers the chance to truly excel.

DIGITAL DOCUMENTARYTEACHER’S STATEMENT

Pat Johnson

Native Alaskan ArtifactsPhotographed by Digital Documentary Team Member, Native American Studies Story Category

Sheldon Jackson Native American MuseumSheldon Jackson College, Sitka, Alaska

Course Title

LESSON PLAN TABLE

- Introduction to the concept of the documentary and using images to tell a story.

http://www.fi.edu/pieces/myers/principles.html, http://photographytips.com/page.cfm/517

Photo Source Good Stuff, ""One Digital Day"" www.photosource.com/goodstuff/gd_aug98.html

or visit Rick Smolan's site at: www.www.adobe.com/motion/gallery/smolan/main.html.com

- Introduction to digital cameras.

- Determining categories for each documentary team.

- Introduction to camera downloading

- Introduction to working on the computer network.

- Introduction to Camera Sign out Forms and Project Documentation Forms

- Principles of image processing in Journalism

- Introduction to Photoshop.

- Principles file management and Introduction to Photoshop Interface.

- Selecting final team members and setting up shooting schedules

- Review of more Photoshop Tools

- Writing bios and stories for the web-site.

- Introduction of Web Design concepts using GoLive.

- Use of the Photoshop Image Adjust capabilities for color correction and definition.

- Creating GoLive Pages

- Image processing for web ready images using Photoshop

- Final image selection by category

- Linking Images to GoLive pages.

- Final web-page Production: www.adobe.com/education/tutorials

- Setting digital story books in GoLive using Flipping Pages. www.peachpit.com/vqs/golive6

www.realworldgolive.com, author Jeff Carlson

Lesson Lesson Summaries Handouts Tutorials

Student

Questionnaire

Camera Sign Out

Download Form

Battery Recharge

Form

Interview Form

1.

2.

3.

4.

5.

6.

7.

8.

9.

10.

PS #1

PS #2

GoLive #1

PS #3, GoLive #2

PS #4

GoLive #3

GoLive #4

INTRODUCTIONThe Sitka Fine Arts Camp Digital Documentary project was organizedto offer students at the camp the chance to capture a photo record oftheir camp experience and create a Web site for the camp to give futurestudents the chance to share their experience. The project was designedas a digital component to the Photography Program. All software wasobtained through Adobe Systems. The digital cameras were loaned bySiPix, Inc.

DIGITAL DOCUMENTARY TEACHING TEAMThe curriculum and methodologies for the Digital Documentary weredeveloped by Computer Graphics Teacher and Education Consultant,Pat Johnson, with the assistance of two local new media experts, ReberStein and Pete Stein. Reber Stein is a professional photographer andowner of a local Sitka photography and graphic design company,PhotoGraphics, who taught traditional and pinhole photography at theFine Arts Camp.

Pete Stein, holds a degree in computer graphics and is a new mediaspecialist and software developer for games companies in the Califor-nia, Bay Area. Pete developed and taught all the GoLive tutorials andalso designed the Home page to make it easy to browse each documen-tary topic and uploaded the completed site to the Camp server in timefor the final camp showcase.

The Computer Lab facilities at Sheldon Jackson College, where thecamp is held, was managed by John Whelihan who bravely adapted thecomputer network and set up the lion’s share of his lab to accommo-date the Documentary Workshop teams. His unfailing assistance, gaveus the support we needed to get the project completed on time.

DIGITAL DOCUMENTARY

COURSE OVERVIEW

Sitka Fine Arts Camp Faculty and Staff waiting for a boat totake them on a tour of the Sitka Harbour.

THE FINE ARTS CAMP FACULTY AND STAFFStudents also received a warm welcome from all the teachers and staffat camp who allowed them to come into their classrooms and photo-graph all camp activities from morning till night. Without their collabo-rative spirit, the documentation process would not have been possible.

Reber Stein and Photoshop student.

Pete Stein, hard at work creating tutorials.

John Whelihan, the world’s best loved Technology Manager

DIGITAL DOCUMENTARYTECHNOLOGY SPECIFICATIONS

SOFTWAREAll software used for the Digital Documentary project was obtainedfrom Adobe Systems. Software included:

Adobe PhotoshopAdobe GoLive

Individual students group worked on additional experiments withAdobe LiveMotion and editing digital video footage in Premier inpreparation for future enhancements to the Web site.

HARDWARESheldon Jackson College Computer Lab

Computers:The existing computer resources of Sheldon Jackson College computerlabs were offered to the digital documentary team. Lab Manager, JohnWheliham, set up a dedicated network using ten computers. Theseresources are listed below:

8- MicronPentium Processors 166 to 200 Mhz32 to 64 MB of RAM2 to 6 GB Hard DrivesRunning Windows NT 4.0 Service Pack 6Microsoft Office 97

2- DellPentium III Processors 700 mhz Computers64 Mb of RAM20 GB Hard drivesRunning Windows ME (Millenium Edition)Microsoft Works Suite

Network:The Sheldon Jackson Campus Server was networked to the lab com-puters and enabled us to store and manage a heavy work flow of up to500 MB of images in any given day.

Digital cameras:6-SiPix SC2100, 2.1 Megapixel digital cameras, loaned to the camp bySiPix.2-Hewlett Packard Photosmart hp315 2.1 Megapixel digital still cam-eras with Digital Zoom, provided by individual participants

Portable Digital Imaging Studio:Workshop Coordinator, Pat Johnson also brought her Hewlett-Packardmini-digital imaging studio. This system was dedicated to experimenta-tions with Adobe Premiere and Adobe Live Motion in anticipation offuture enhancements to the Fine Arts Camp Web site. This portablestudio included:

Hewlett-Packard Notebook PC.Pentium III Pavilionxh215Read Write CDAdditional Fire Wire card

Hewlett-PackardPhotosmart hp315 2.1 Megapixel digital still cameraHewlett-Packard 360 Desk jet PrinterFor proofing images and printing a color image portfolio for eachstudent to take home.

GOALSThe Digital Documentary Workshop was held over atwo week period at the Sitka Fine Arts Camp in SitkaAlaska. The Three Documentary classes met once a dayfor ten days of the two week camp sessions. The goal ofthe workshop was to capture all aspects of camp life toprovide information from the student’s point of view.Their images and essays, displayed on the camp Website which they built during the workshop, offer enter-taining information about the camp for future campers.

METHODS AND PROCEDURESEach class met from 60 to 90 minutes per session.Because the classes were tightly focused on task se-quences, and because the Documentary workshop wasprimarily comprised of computer literate students, theywere able to accomplish in the 2 weeks of Sitka FineArts Camp what would normally take up to two monthsin a normal classroom.

The topics to be covered by the documentary weredetermined by the students. Each student was thenassigned to cover the particular story “Beat” of theirchoice, selecting up to ten of their digital photos fortheir portion of the final documentary Web site.

Students mastered the use of digital cameras, imagedownload techniques and specific software tutorials.Forms and methodologies were established for keepingtrack of all daily activities associated with the project.Students conducted daily photo shoots, maintaineddocumentation of their photo downloads and computeractivities, wrote personal biographies as well as captionsor stories for each image.

DIGITAL DOCUMENTARYCOURSE OVERVIEW

Students conducted interviews with campers and faculty. Documentary andCreative Writing students composed poetry exploring the subjects raised duringfield trips around the campus grounds and discussions of sociology, and geogra-phy and history of Sitka and the state of Alaska.

During the ten day Digital Documentary project, students were given opportuni-ties to collaborate in teams and take charge of specific topics related to the FineArts Camp, the Sheldon Jackson College and the Town of Sitka, Alaska wherethe camp is held each summer.

One of the three Digital Documentary Classes

CURRICULUM

The Digital Documentary project supported exploration into variouscurriculum areas beyond the areas of digital photography and webdesign. These curriculum modules included:

- Social Studies:Students came to Sitka from a wide range of communities throughoutAlaska and Students ranged in age from 12 to 18 years. Enrolled in theDigital Documentary project were Native American children fromseveral Alaskan tribes who had grown up on remote islands and North-ern villages on the edge of the Alaska Tundra. Attendees also includedurban students from the larger Alaskan cities, non-native students fromrural areas and small town schools, and home schooled children whoseldom left their remote island communities. Sharing their experiencesthrough photo essays accompanied by editorials about their lives andreactions to the camp experience provided a living, dynamic coursemodule on social studies.

- Geography:The Fine Arts Camp takes place in the temperate rain forest of theBaranoff Island which is significantly different from the communitiesof many of the students. SItka, Alaska, the host town for the workshop,is situatied near a dense forest preserve. It is surrounded by volcanicmountains at the edge of a large bay, in which whales are often seen.By contrast, many students came from other areas of Alaska wherethere are miles of open tundra, little rainfall, few trees and no majornavigable bodies of water. In past years, some of the native childrenfound the trees so disturbing and confining that they seriously posedthe question, “Wouldn’t this area be nicer if all the trees were cutdown?”

DIGITAL DOCUMENTARY

COURSE OVERVIEW

NASA Satellite Map of Alaska

One of the favorite topics for Campers in the Digital DocumentaryWorkshop was Nature and Structures, which gave them the chance toexplore this new environment.


- History:Sitka was first settled by Russian explorers who changed the economicprofile of the island, once populated by native tribal people devoted tosubsistence living. It is now a large fishing port and a destination pointfor cruise ships. Native communities have revived and preserved manyof their cultural activities and a local museum is an excellent site forthe study of a large collection of tribal artifacts. These contrasts inpopulation and environment offered the Digital Documentary studentsthe opportunity to integrate history into the exploration of photography,design and technology lessons.

- Creative Writing:The camp offered a 2-week course on creative writing in which stu-dents worked on location, out of doors, and found inspiration in natureand in historic sites throughout the town. Their writing, as well aspoetry composed by Digital Documentary students, was paired withimages captured by students working on the art gallery portion of thedocumentary project.

PROJECT PARAMETERSImage Capture: Up to 200 images per day were captured by studentteams both during class and outside of class hours. At least half thecameras were in use by student teams for up to 15 hours per day. Alldigital photo editing was done on-screen. Records of all downloads,Software Tutorials, Course notes, Essays, Captions, Bios, and Hand-outs were kept in color coded binders. Each student made daily recordsof class activities and kept their binders to take home and refer to aftercamp.

Three formal photo and image evaluation sessions were conducted inclass during the two weeks of the camp. During the first week anaverage of 20 minutes of class time per day was devoted to editingimages for selection on the final Web site. During the second week an

average of 20 minutes of class time per day was devoted to softwaretraining both for image processing and web design. An average of 30minutes per day was spent by students working in the computer laboutside of class time.

Week one was devoted to image capture and editing. On the Saturdayof the first week, Web building concepts were introduced. Week twowas devoted to working on deadline completing web-page productionand written compositions for the site.

1. ScheduleWeek one was devoted to image capture and digital image editing.On the Saturday of the first week, Web building concepts were intro-duced.

Week two was devoted to working on deadline completing final imageedits, finishing Web page production and written compositions for thesite.

2. Image Capture and DownloadUp to 200 images per day were captured by student teams both duringclass and outside of class hours. At least half the cameras were in useby student teams for up to 15 hours per day. Downloading cameras andmoving digital files across the computer network to secure work fileswas demonstrated on day two of class. Tracking forms were main-tained by students to keep records of each download and image namingand selection session.

3. Photo EditingThree formal photo evaluation sessions were conducted in class duringthe two weeks of the camp. Criteria used for evaluation was based ontraditional photo images. Examples to illustrate each concept wereselected from A Day In the Life of America, by Rick Smolan, CollinsPublishers, First Published, 1986. Photographed by 200 leading photo-journalists in one day, this book provides excellent examples of pho-tography that tells a story in just one image. To inquire about RickSmolan's Day in the Life series, go to: Photo Source Good Stuff, "One Digital Day" www.photosource.com/goodstuff/gd_aug98.htmlor visit www.adobe.com/motion/gallery/smolan/main.html

During the first week an average of 20 minutes of class time per daywas devoted to selecting and digitally editing images for selection onthe final Web site. See URL’s recommended in Lesson Plan Table forintroductions to photography and digital imaging.

4. Digital Image Processing and Web Page BuildingDuring the first and second week an average of 20 minutes of classtime per day was devoted to software training both for image process-ing and web design. All digital image editing was done on-screen.Students spent an average of 30 minutes per day working in the com-puter lab outside of class time.

5. Student Essays and BiographiesStudent biographies and captions to accompany each image werediscussed in Week one. Hand written student bios were due by the endof week one. At the beginning of week two, one class session wasdevoted to transcribing and editing student bios. Captions for eachimage were composed as the Web pages were being created. Campersfrom the Creative Writing classes also contributed poetry and workedwith the Documentary teams to combine their compositions witheffective images.


STUDENT STORY ASSIGNMENTS

1. Dorm and Campus Life: Sean, Jackie

2. Course Work: Janna, Annie

3. Camper Personalities: Cory, Lauren

4. Grounds and Town: Chris, Travis, Zach

5. Nature and Structures: Ryan, Genny, Tristan,Sabrina, Penny, Nathan,Wayne

6. Sheldon Jackson: Julie, Martin

7. Art Gallery: Megan L.

8. Comparisons &Contrasts: Monica, Kirstin

9. Native Alaskan Studies: Colin, Johnny

10. Art Share: Brian, Megan O’

ALL HANDOUTS

Tracking the many aspects of the Digital Documentary Workshop wasvital to the success of the project.

Campers were asked to complete questionnaires about their computerexperience so the teachers could assess their skills and tailor sessionsto those needs.

Campers were required to record all images downloaded with notationsas to date, titles and computer used for download, in case the files didnot transfer successfully over the network.

Each student kept these records along with course notes and TutorialHandouts in their own binders. They took these binders home and usedthem as guides to working with Photoshop and GoLive in their homesand schools.

Sign out sheets for cameras being used outside of class time wererenewed daily.

Records were kept of the recharging schedule of all rechargeablebatteries.

These forms are presented in the following section.

DIGITAL DOCUMENTARY

Student Binders, color coded for each of the 3 classes. These bindersheld camera download information and all other records and handoutsused in the Digital Documentary workshop.

Digital Documentary Campers Questionnaire

Name:_____________________________________ Address:_________________________________________________________________________

Email Address_____________________________What Level software user are you?Beginner Mid-level Advanced

What Adobe software do you already use?_______Photoshop_______Photoshop Elements_______GoLive_______Live Motion_______After Effects_______Premiere_______Other:__________________________

Do you use computers in your classrooms at school?

Do you own a computer and use it at home? __________ If yes, what type of Computer__________________________________

Do you own or have you ever used a digital camera?__________ If yes, what type of camera?____________________________________

Why are you interested in the Digital Documentary Workshop?

Student Biography:As a part of the workshop you will be writing a biography to add to your web pages. For your biography please answer the questions below:

Describe your community and school. Discuss the landscape, size of the community and your interests and hobbies.

What has interested you most about attending the Sitka Fine Arts Camp?

- What Have you enjoyed Most?

- What were the biggest things to adjust to?

- What did you learn and enjoy about the Digital Documentary Workshop?

CAMERA DOWNLOAD FORM (USE A NEW FORM FOR EVERY DOWNLOAD)

Student Name__________________________________________________ Date_________________

Camera Number__________ Workstation Computer Used______________________

Number of Images Downloaded______________________

File Names: Image Subject:

_____________________________________ _____________________________________________________________________

_____________________________________ _____________________________________________________________________

_____________________________________ _____________________________________________________________________

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DIGITAL DOCUMENTARY

BATTERY CHARGER NUMBER____________

DAY OF THE WEEK_______________________________

TIME

____ AM

____ PM

NUMBER OF BATTERIES ________________________

NUMBER OF BATTERIES

THAT DID NOT CHARGE________________________


DAY OF THE WEEK_______________________________

TIME

____ AM

____ PM


NUMBER OF BATTERIES



DAY OF THE WEEK_______________________________

TIME

____ AM

____ PM


NUMBER OF BATTERIES


DIGITAL DOCUMENTARYBATTERY RECHARGE RECORDS


DAY OF THE WEEK_______________________________

TIME

____ AM

____ PM


NUMBER OF BATTERIES



DAY OF THE WEEK_______________________________

TIME

____ AM

____ PM


NUMBER OF BATTERIES



DAY OF THE WEEK_______________________________

TIME

____ AM

____ PM


NUMBER OF BATTERIES


Camera Sign Out FormClass Period___________________

Camper Name Camera Number Sign Out Date and Time Sign In Date and Time

INTERVIEW FORM

DIGITAL DOCUMENTARY

Person Interviewed________________________ Date___________ Student Name________________________

Address__________________________________

Phone__________________________________

Email__________________________________

When you begin the interview, you should already have at least one question you want to ask. As the interview goes on, you will learn things that

you will want to ask more about. These are the secondary questions. Write down the Secondary Questions as you interview.

Primary Question?_________________________

Secondary Questions?_______________________



Bay off Sitka Alaska

Introduction to Photographyhttp://www.fi.edu/pieces/myers/principles.html

Principles of Photography

Ten Tips for Better Pictures

Simplicity The simpler, the better

Distractions Avoid them!

Cropping Do this with the camera first. Capture the most impor-tant part of the picture - the part that makes the story.Your pictures need to have a variety of types ofcroppings.

Perspective Try to get interesting perspective that other photogra-phers have not tried, or that you have not often seen.Bend your knees, and tippy-toe whenever necessary.Standing on a bench, chair, ladder, etc. can be an excel-lent helper.

Lighting Use natural lighting whenever you can. You want tocreate a mood with your lighting. Watch where you haveshadows. Any indoor picture may need a flash.

Action Place yourself close to the action. Try to get people inaction. Capture their daily activities. Sports scenes lendthemselves to fast action. When photographing sports,try to get as many faces as you can.

DIGITAL DOCUMENTARY

Contrast Try to get your blacks as black as possible and yourwhites as white as possible. Contrast small shapes withlarge shapes.

Creativity Create a new view of a common picture. See things in away that you never noticed before. Crop your center ofinterest so that it is telling the whole story - showingfaces, expressions, moods, movements, stances, situa-tions, and experiences that we all share at one time oranother. Find our likenesses and differences.

Consistency Be as consistent as you can. At first this will be difficult,but it will slowly start to make an impression on youwhen you do certain things the same that give you goodpictures. Follow that, so your pictures are the bestpossible.

Balance Each picture has its own balance and should be pleasingto look at. It can be formally balanced or informallybalanced, but the basic principles of design apply heretoo. Try not to make something look like it is falling offthe page, etc.

Introduction to Digital Camerashttp://photographytips.com/page.cfm/517

Starting out with a digital cameraYou have just acquired your first digital camera and are probablywondering “Now what do I do?”

READ THE MANUALIt may seem obvious, but many people don’t read manuals from cover-to-cover, and digital cameras operate differently from traditionalcameras. The manual contains information you need, and will keep youfrom making easily-avoidable mistakes that might damage the equip-ment. Most manuals have a short “Getting started” or “Quick start”section that will provide the basics to get you up and running, and youshould at least become familiar with this information before using thecamera, referring to the manual when you need to know about specificfeatures.

CHARGE THE BATTERYIf your camera comes equipped with rechargeable batteries, step one isto fully-charge them. Unless you purchased a separate compatiblebattery charger, you will likely need to plug in your camera to do this.The manual will provide you with step-by-step instructions. Chargingmay take several hours.

Your camera may be put into use right away if it takes normal alkalinebatteries. Be sure to check the manual to be sure that other batteries arecompatible.

DIGITAL DOCUMENTARY

POWER UPOnce the battery is fully-charged, you can begin to use your camera.Make sure the camera’s power switch is in the “off” position wheneveryou insert or remove batteries. With the battery or batteries properlyinserted, turn on the camera. The control panel should light up andinformation will be displayed.

POWER DOWNIf your rechargeable batteries are nickel-cadmium types (read yourmanual to find out), use them until they are completely exhaustedbefore recharging them to avoid what is known as “memory effect.”

(See our section entitled Digital cameras and batteries. )


DATE AND TIMEMany digicams allow you to set the date and time so that it can berecorded. You may want to do this as your first step. Refer to yourcamera’s manual for instructions.

PICTURE STORAGESince digital cameras don’t use film, pictures you take are recorded onthe camera’s digital memory, which can be built-in, or on a removablemedium - a memory card, memory stick or disk. You will probably beamazed when you see just how small the removable card is. Itsmemory storage size should be printed on it, appearing, for example, as16MB or 32MB. The actual number of pictures it will hold will dependon the image resolution you select.

The removable medium (card, stick, etc.) must be inserted with thecamera’s power switch in the “off” position. (Later, when removing thecard, be sure to turn the camera off to avoid damaging the digital data.)The card will only go in one way, so be sure you have it properlyaligned before attempting to insert it, and never attempt to force it.Read your manual if you have difficulty inserting it.

IMAGE RESOLUTIONAlthough you can probably start taking pictures right away using thecamera’s initial settings, picture quality and the number of images thatcan fit in the camera’s memory storage are affected by the imageresolution that is set. You may want to change the resolution to asetting that is more suitable for your intended use of the pictures.Depending on the make of camera, your resolution options will be

DIGITAL DOCUMENTARY

termed something like “high” or “fine,” “normal” and “basic,” andthere could even be a super high resolution setting. Image file sizes aresmallest at the camera’s “basic” resolution, and you will therefore beable to fit more images in memory at this setting. The “normal” resolu-tion setting will give you somewhat larger image files, providing morepicture detail for you to manipulate with your software. Pictures takenat the camera’s highest resolution will require the most memory fortheir storage, but will give the highest quality image when they areprinted. They can be printed in greater detail and sharpness in largersizes than smaller resolution pictures.

Many digital photographers routinely shoot at normal to high resolu-tion, and reduce the image size later when the file has been down-loaded onto a computer. Some recommend always shooting at thehighest resolution, allowing them to make decisions about imagequality afterwards, but remember that this limits the number of picturesthat can be stored in the camera’s memory.

If you intend to use your pictures only on your computer (for a Website, to send via email or in a computer document) and have no plans tohave them printed, you won’t need to shoot at high resolution. Use the“basic” or “normal” setting.


Refer to your camera’s manual for instructions on setting resolution.Commonly your options are displayed on an LCD control panel, andchoices can be easily made at the press of a button.

FILM SPEED EQUIVALENCYA traditional camera must be set for the speed of the film with which itis loaded. Film speed is a measure of the film’s sensitivity to light, andis indicated by an ISO number. (See our section entitled “Film speed.”)Digital cameras can also be set for their light sensitivity, allowing you,for example, to take sharp pictures in dim lighting situations withoutthe need for flash.

Digital cameras use the same terminology (ISO rating) for setting lightsensitivity as traditional cameras even though there is no film. Use ahigh ISO-equivalency setting for low-light picture-taking and be sure toreset it when shooting under brighter light. Your camera’s manual willprovide specific instructions on choosing the right setting.

DIGITAL DOCUMENTARY

LIGHTING CONDITIONSPictures you take should show white objects as being white, but thetype of lighting on your subject can make white look orange or blue.The same effect occurs with traditional cameras, where ordinaryhousehold lighting makes images taken on daylight film look too warmand unnatural. (See our section entitled “Light and its color.”) Whenshooting with film, this effect can be corrected by selecting a film typethat is designed for a particular kind of illumination or by using colorcorrection filters. In digital photography, you correct for the type oflighting by adjusting the camera’s “white balance.”

The white balance is preset for normal daylight photography. If youplan on shooting indoors where your subjects will be illuminated byhousehold bulbs or fluorescent lights, or if you will be using flash orshooting in shade, refer to your camera’s manual for instructions anchanging the white balance to suit the type of lighting.

50 Fast Digital Photo Techniques

by Gregory Georges, Cris Rys (ISBN: 0764535781 )

Hungry Minds, Inc

Complete Digital Photography

by Ben Long (ISBN: 1584500077)

Charles River Media

Web site: www.charlesriver.com/

DIGITAL DOCUMENTARY

The Complete Idiot’s Guide to Digital Photography

by Steven Greenberg (ISBN: 002864235X)

Prentice Hall

240 Frisch Ct

Paramus, NJ 07652

Toll-Free: 800-501-8801

Here are some books you might like to look at for additional information.

Charles Polluk, Alaskan Carver and Carving Instructor at Sitka Fine Arts Camp

DIGITAL DOCUMENTARY

Midnight Sun Burning Into Day

DIGITAL DOCUMENTARY

Three Horn ViewsMid Range Shot

Over The Shoulder Shot

Extreme Close Up

DIGITAL DOCUMENTARYALL TUTORIALS

Stein, one of the Digital Documentary Instructors,working with a camper on a GoLive question.

DIGITAL PHOTO CONCEPTSA documentary photograph is intended to give an honest picture of anevent, person or place. If you make big changes to the photo, you arenot giving the viewer an honest documentary view. This fact waspresented to students to encourage concentration of capturing the bestpossible image of any scene. But because of varied lighting conditionsand the parameters of the digital camera, digital photos to be used on aWeb site need a bit of cleaning up.

Because many shots were done indoors with artificial light, whichcreates an overall green cast, it was first necessary to learn to changethe color balance, brightness and contrast of all or parts of an image. Insome cases it was necessary to put a little more color into a face orchange the color balance if an image came out too light or dark. Insome cases we chose to draw attention to a specific area of the imagethat tells the story by brightening the background of a photo but notretouching the foreground.

DIGITAL CAMERA MAINTENANCE:The digital cameras used were operated strictly by batteries. The firstset of four batteries per camera were completely used by the end of thefirst day of class. The LCD display, which helped the students deter-mine if an image was worth keeping, drew great amounts of batterypower, contributing to the short battery life. To maintain the cameras,two packs of rechargeable AA batteries and four battery chargers wereneeded. Recharging was done every evening after the last class. Batterycharge records were maintained for each charger. Charges batterieswere set aside in a supply area. Dead batteries removed from camerasduring each day were recharged as they were removed and whenrecharged were placed in the supply area.

DIGITAL DOCUMENTARYALL TUTORIALS

TUTORIALSThe following tutorials are designed to introduce you to AdobePhotoshop and Adobe GoLive. These tutorials will offer a simple pathto beginning users and teach you how to create Web ready images andbuild a simple Web site in GoLive. Both GoLive and Photoshop containmany sophisticated features that offer exciting opportunities for ad-vanced users. GoLive in combination with Photoshop can create dy-namic, animated functions using Photoshop Layers and many Actionfeatures in GoLive. For more information on dynamic features ofGoLive and sophisticated features of Photoshop, one of the best re-sources is the Adobe Web site at www.adobe.com/training. This contentrich site provides downloadable training manuals, free tutorials, ExpertCenter instructional resources and affordable, in-depth on-line trainingwith special pricing for educators.

• Introduction to Photoshop.• Principles of file management and Introduction to Photoshop

Interface. PS#1• Review of more Photoshop Tools.

PS#2• Use of the Photoshop Image Adjust capabilities for color correction

and definition.PS#3

• Creating Web ready images using Photoshop.PS#4

• Introduction of Web Design concepts using GoLive.GoLive #1

• Creating GoLive Pages.GoLive #2

• Linking Images to GoLive pages.GoLive #3

• Final Web page Production.GoLive #4

WORKING WITH IMAGES:When you have scanned an image, and opened it into PhotoshopElements you must first save the image properly.Create a Folder and Name it with the TOPIC your Team is researching.

TO SAVE AN IMAGE:1. Pull Down the File Menu2. Select SAVE AS3. Type in a new IMAGE NAME4. Browse to your Team Folder through the Save As Window and

Save the image file to your Team folder.

SAVING CHANGES TO AN IMAGE:Whenever changes are made to an original image, they must be saved,but you should never save changes by altering the original image.When you save changes, always make a second copy and give it adifferent name or number.

DIGITAL DOCUMENTARYTUTORIALS

TO SAVE CHANGES:1. Pull Down the File Menu and Select SAVE AS.2. Rename the image in the SAVE AS window.3. Browse for your folder and Save the changed image file into

your folder.

TO BE SAFE NEVER save a file using File, SAVE as this will over-write the existing image.

FILE MANAGEMENT:To keep track of your images and Web pages, it is important that eachstudent save their essays and image files into their Team folder. If theimage files and GoLive pages are not in the same folder, the image fileswill not be moved onto the Web site server along with the pages. Thiswill break the links between the images and the Web pages and whenthe Web site is launched, no images will appear on the pages.

PHOTOGRAPHY ITUTORIALS

Photoshop 6.0 and Photoshop 7.0

PS#1: Introduction to PhotoshopThe toolbox for Photoshop 7.0 vary slightly from Photoshop 6.0. Theillustrations below illustrate differences in the Toolbox and the BrushPalette.

BRUSHES: The illustrations below compare the brush selections inthe Menu Bar from PS6 and PS7.

For Introductory Photoshop Tutorials, visit the following URL :www.adobe.com/education/training.TOOLBOX: Photoshop 7.0 on the Left, Photoshop 6.0 on the Right

PS#1: Photoshop ToolsIntroduction to Photoshop selection tools, magic wand, mar-quee, crop, and move tool.

Selection tools are critical to working with Photoshop. Theyare a simple way to isolate any portion of an image. Whenchanges are not required to an entire image, the selection toolsallow the isolation and alteration of specific portions of animage without effecting the surrounding area. Selection toolsalso allow for selection of specific areas to be copied andpasted into another area of the image on a separate image.

Marquee:The Marquee selection created a rectangular or circular selec-tion and is handy when moving large areas requiring no care-ful selection of irregular borders.

Magic Wand:Using any image, select an area of similar colors using theMagic Wand tool. Notice that the selection stops where thecolor changes. This tool enables the user to easily select anyarea by color so it can be easily changed in one action.

Lasso:There are several ways to hand draw a selection using theLasso. Try hand selecting any area by drawing around it. Nextuse the Polygonal Lasso to create a Bezier selection by creat-ing specific points and manipulating points and mathematicalcurves. Finally, use the Magnet Lasso to automatically selectaround any area with distinct borders.

Move Tool:No selections can be moved till the Move tool is selected.


PS#1: Photoshop ToolsIntroduction to Photoshop selection tools, magic wand, marquee,crop, and move tool.

Exercise with Selection Tools:

1. Choose each of the selection tools and try them on your ownimage.

2. Note that the Magic Wand will select a larger or smaller areadepending on the Tolerance setting you choose in the MenuBar.

3. With an area selected, choose the Move Tool and move theselection around. Note that this opens a hole in the image.

4. With an area selected, choose the Move Tool.Go to the Edit Menu and Select CopyGo to the Edit Menu and Select PasteDrag on the selection and note that the copy can be movedwhile leaving the background in place.

5. Pull Down the Window Menu and choose Show Layers. Notethat the copied selection appears on a new layer in the LayerPalette.

6. Pull down the Layer menu and choose, Flatten Image.Note that the Layers merge.

.


DIGITAL DIARIESTUTORIALS

PS#2: More Photoshop ToolsDropper, brushes, bucket, airbrush, burning and dodging, magnify-ing glass

The tools in the illustration above are extremely helpful for fillinglarge areas or painting with precise color selections and for emu-lating the traditional dark room techniques of dodging and burningto control the exposure on a targeted area of an image.

Magnifying glass: Choose the tool that looks like a magnifyingglass and click on the image to zoom in on an area.

Eyedropper: Select the eyedropper and lick on any area in theimage to select a color from this area.

Bucket tool: Select and click on any areas of solid color. The areawill fill with the color picked with the eyedropper. You can alsomake a selection with the selection tool and the fill will occur onlyin that area. Change the opacity of the fill by changing the numberin the opacity text box on the menu bar.

Airbrush: select from the Menu Bar and choose a large brushsize. Change the opacity to 20%. Draw on an area of solid con-tinuous color and note that the color will gradually shift to theselected color. Pull down the Mode menu and choose differentpaint modes to test the results. These modes can be used to selec-tively paint in corrections or changes to an image.

Burn and Dodge tools: Choose the Dodge tool and select asmaller brush size. Click and drag over a dark area of the image tolighten it. Hold down the dodge tool to select the burn tool. Movethe cursor to an area that is too light and darken it.

PS#2: Introduction to Paint tools:Left Side:Healing Brush (PS 7.0)Cloning toolEraserBlur/Sharpen tool

Right Side:Paint BrushHistory Brush (keeps track of strokes used during a painting session)Paint Bucket (Fills a selected area)Dodge and Burn Tools (Perform Darkroom techniques)Dodging-Lightening an image areaBurning-Darkening an image area

The Paint tools, combined with the Wacom tablet and stylus offer anexciting way to explore Photoshop because pressure sensitive stylusreplicates the pressure of a traditional paint brush or drawing tool.

These tools allow an entire range of photo retouching, image alteration,and original painting.

Select the various paint tools labeled on the illustration above.

Select colors using the color picker at the bottom of the toolbox orfrom the color or swatches windows from the Window Menu.

Try selecting specific areas of an image and altering only that area withthe paint tools.

To vary the opacity of the color, change the opacity setting in the menubar.

Practice with the Wacom stylus to alter the thickness and opacity of aline using various pressures on the tablet.



PS#3: Photoshop Image Adjust Menu and Color Correction:Levels, hue, saturation, balance, contrast, color curves

One of the most important features of Photoshop is the ability to makecolor corrections to an image.

Pull Down the Image menu and select Image Adjustments:Levels:The Levels window contains a histogram that shows the distribution ofcolor across the brightness scale. By moving the triangles on thesliding bar below the histogram you can alter the distribution of coloras well as the saturation of color within any area of this range.

To automatically select all the R, G, B channels at one time, selectAuto from the box at the right of the window.

Select each color separately in the channel text box. Move the triangleson the sliding bar to alter the color balance and saturation. To comparethe original image with the adjusted image, check and uncheck thepreview box at the bottom of the screen.

To rebalance the color within a specific brightness range, use theeyedroppers at the right of the window to select the dark, middle andlight tones.

Hue/Saturation:The Hue Saturation window allows the alteration of color (Hue) as wellas saturation across the brightness scale by using a different display ofselections. The Hue/Saturation window also allows alteration to theCMYK color balance. CMYK (Cyan, Magenta, Yellow, and Black) isthe color model used for printing. Many colors on-screen cannot beprinted. Altering the printable color balance can bring CMYK colorcalculations into a printable range.

Brightness/Contrast:The two sliders in the Brightness Contrast window are especiallyuseful when the overall image is too dark or light. There is much imageinformation in dark areas of a digital image. Detail can be revealedwhen the brightness and contrast scale is altered. It is slightly moredifficult to darken a blown out image. Digital images do not carryextensive color data in highlight areas. Altering the brightness will notcreate image information where none exists.

Curves:The Curves window uses a graph to map brightness, contrast, color,saturation and hue. By adding points to the curve and manipulating thesteepness of the curve, tiny alterations to specific color information canbe made on a very narrow brightness range. This tool is especiallyhelpful when making difficult adjustments to a complex image fordigital printing.

PS#3: Color Correction with Photoshop:One of the most important features of Photoshop is the ability to makecolor corrections to an image.

The following color and image correction menu selections appear inthe Image>Adjust Menu:Levels, hue, saturation, balance, contrast, color curves

Levels:1. Pull Down the Image menu and select Image Adjust>Levels.

The Levels window contains a histogram that shows the distribu-tion of color across the brightness scale. By moving the triangles onthe sliding bar below the histogram you can alter the distribution ofcolor as well as the saturation of color within any area of this range.

2. To automatically select all the R, G, B channels at one time, selectAuto from the box at the right of the window.

3. Select each color separately in the channel text box. Move thetriangles on the sliding bar to alter the color balance and saturation.To compare the original image with the adjusted image, check anduncheck the preview box at the bottom of the screen.

4. To rebalance the color within a specific brightness range, use theeyedroppers at the right of the window to select the dark, middleand light tones.

Brightness/Contrast:1. Pull Down the Image menu and select Image Adjust>Brightness/

Contrast. Detail can be revealed when the brightness and contrastscale is altered. It is slightly more difficult to darken a blown outimage. Digital images do not carry extensive color data in highlightareas so darkening will not create image information where noneexists.

2. Move the sliders on the Brightness and Contrast scale to change theentire image or a selected area within an image.


PS#3: Color Correction with Photoshop:

Hue/Saturation:1. Pull Down the Image menu and select

Image Adjust>Hue Saturation.The Hue Saturation window allows the alteration of color (Hue) aswell as saturation across the brightness scale by using a differentdisplay of selections. The Hue/Saturation window also allowsalteration to the CMYK color balance. CMYK (Cyan, Magenta,Yellow, and Black) is the color model used for printing. Manycolors on-screen cannot be printed.

2. Altering the printable color balance can bring CMYK color calcu-lations into a printable range.


PS#3: How to spot tone the imageSpotting refers to the selective correction of any small or large area ofan image. Imperfections in an image can occur from damage, dustspots or small color anomalies such as those that can occur in digitalimages where a dark area changes immediately to a light area.

Toning an image refers to corrections in brightness and sharpness.

All the tools introduced in the previous lessons are used in combina-tion to touch up an image and correct tone.

Spot Toning Exercises:1. Using the sample images provided

2. Use the clone tool to remove specks

3. Use the Image Adjust>Levels to change the color of an overallimage.

4. Make a selection. Use the eyedropper tool to select a color. Usethe Paint Bucket tool to drop this new color into the selected area.

5. Select an over exposed area that is too dark and use the ImageAdjust>Brightness/Contrast to reveal details in an overexposedarea.


EXAMPLE: Spot toning a dark area to improve brightness andcolor balance using the Dodge and Burn Tool.

PS#4: Resizing Images to be used on Web sites.An image on a Web page must be a small file size so it will openquickly through a browser. It is also important for images to be easilyviewed on smaller screens. This is particularly important for schools,where the smaller 14 inch screen is often the norm. To resize an imageto meet these standards you will use the IMAGE menu.

TO RESIZE AN IMAGE FOR THE WEB:1. Pull Down the Image Menu and Select Image Size2. A window will open that displays both the Pixels per inch and the

inches in height and width.


3. So resize an image to be viewed on a 14 inch screen, it must bescaled to no more than 640 pixels in Width and 480 pixels inHeight.

4. In the Image Size menu, change the pixel Width to 640. The Heightwill automatically change in proportion.

5. The resolution of an image for a Web site can be as small as 72pixels per inch.

6. In the Image Size window, it is possible to reduce the resolution tothe desired pixels per inch setting.

7. As you resize the Width, Height and Resolution of your image,note that the file size with Constrain Proportions and ResampleImage both checked, the image will automatically resize all settingsin proportion.

PS#4: Creating Web ready images using PhotoshopPhotoshop includes a Save for Web selection under the File menu. Thisfunction will allow you to create the smallest possible file size for yourcolored or grayscale image without lowering the image quality. Keep-ing file size low is important because large images are very slow toload on a Web page, which is very annoying to the viewer. Also, insome cases, viewers may not have enough memory in their computer toopen large images.


TO SAVE FOR WEB:1. Pull down File Menu2. Select Save for Web3. Two Images will appear. The image in the Left will show the

original file. The image on the Right will show the change.4. In the window on the Far Right you can make adjustments to the

image resolution, color options and format and compare thesechanges to the original image on the Left side of the window. Whenyou find the smallest possible file size with the least reduction inimage quality, save the image with those settings to use on yourWeb page.

GoLive #1

FILE MANAGEMENT WITH WEB PAGES:To keep track of your Web images and Web pages, it is important thateach student save their essays and image files into their Team folder. Ifthe image files and GoLive pages are not in the same folder, the imagefiles will not be moved onto the Web site server along with the pages.This will break the links between the images and the Web pages andwhen the Web site is launched, no images will appear on the pages.Folders should be named with the Team’s topic. Web pages for mul-tiple images can be created in many ways. The following instructionsoffer a simple approach using one image per page.

STARTING OUT WITH GOLIVE1. Open GoLive. A new Web page should automatically appear. (IF THIS DOES NOT HAPPEN)

2. Click and Hold to Pull Down the File Menu and select New.A page with a blue bar at the top will appear.In the blue bar there will be a page symbol and the worduntitled.html. This is your new, empty Web page.

3. Look at the lower Right Corner of the Web Page. You will see asmall window with numbers. Click on the downward arrow. Whenthe window opens select the 580 (14”). This will resize your Webpage to the smallest possible screen size which will insure that itcan be seen on the smaller screens often found in schools.

CREATING A NEW WEB PAGE:1. Open GoLive and Select File, New

2. Change the Welcome Statement at the top of the page to the nameof your site.

TUTORIALSGoLive

3. Pull down the File Menu and Select SAVE AS.

4. Name and Save your Web Page.

5. For the 580 (14”) screen size, Choose the second Icon in the Alignto Parent selections.

6. To set the top Margin of the page, Type in the number of Pixels youneed to leave at the top of the page to be used for a page title,banner or navigation buttons.

(see point 5. Pull down this menuto choose the 580 14" screen size.)

SAVING A WEB PAGE:1. At the top of the Web page click and drag to select

Welcome to Adobe GoLive.Replace this text by typing the name of your Web site.

2. Pull down the File menu and select Save As. A windowwill appear.

3. Name your Web pages using your Name or initials.

4. Browse to you Team folder.

5. Click on Save to save your file to the Team folder.

TUTORIALSGOLIVE BASICS

THE LAYOUT INSPECTORThe Inspector is a Window that is found in the Window Menu. Itdisplays options that change to show you the changes you makeas you build you Web pages.

For example, when you select a floating box on a Web page, theInspector becomes the Floating Box Inspector and contains anumber of options from selecting the background color of the boxto indicating the positioning information that indicates the loca-tion of the box and allows you to change that position by chang-ing the numbers.

The inspector also contains an automatic linking capability forplacing images on the Web page or to link pages within the site.

Dynamic changes in the Inspector Window will provide continualupdates to information about the page.

In addition to offering information on page elements, the Inspec-tor also provides options for files, or site assets, styles and manyother aspects of the Web site.

To learn more about the power of the Inspector, read the AdobeGoLive User Guide or Classroom in a Book. Another excellentresource for working with all features in GoLive is the PeachpitPress Visual Quick Start Guides Series.

Inspector Window, GoLive 5.0 reflecting information about the Float-ing Box placed on the Web page.

To open the Inspector Window,Pull down the Window Menu andselect Inspector.

Note: The Inspector Window inGoLive 5.0 and the InspectorWindow in GoLive 6.0 look thesame and contain the sameinformation.

TUTORIALSGoLive

USING WINDOWS AND PALLETS:When you open your Web page, four WINDOWS willopen on your screen.These are: Inspector

Floating BoxesObjectsColor

The Objects Palette:The Objects Palette icons enable you to use pre-defined source code to create your pages simply bydragging the icons to the page. The first object iconsto use are the first six icons from the Basic Palette setwhich is the first tabbed palette on the Left and is thepalette that opens automatically.

Learning the Basic Objects Palette:1. First, Layout Grid for aligning images and text on

a page.

2. Second, Layout Text Box for adding text.

3. Third, Floating Box for text and images and forsetting up unique operations, such as creatingflipping pages.

4. Fourth, Tables icon to place tab delimited textsuch as a spread sheet to the Web page

5. Fifth, Image for linking to images being placed onthe Web page(Question Mark in GoLive 5.0) GoLive 5.0 Windows and Palettes.

Objects and Color Palette are Locked.

Tables and Image Icons in GoLive 6.0

GoLive 6.0 Windowsand Palettes

TUTORIALS

GoLive

TUTORIALSGoLive

TUTORIALSGoLive

THE LAYOUT GRID:The Layout Grid allows you to easily align images and text on yourWeb page.

To set up a Web page with a Layout Grid1. Click on the Layout Grid Icon in the Objects Palette2. Drag the grid to the Web page and open it by dragging on the lower

right hand corner3. Drag a text box to the layout grid.4. Click and Drag on the box outline to move the box. Click and Drag

on the corners of the box to enlarge the box.

GoLive #2

Working with TextIt is easy to position text on a Web page using the Layout Grid as aguide.

To place text on the Web page1. Drag a text Icon from the Objects Palette and place it on the Layout

grid.2. Resize the box by clicking and dragging on the corner handles.

Drag on the corner of the text box to open it. Drag inside the box toreposition it.

3. Click inside the text box and type several sentences. Note that thetext will wrap to flow inside the box.

Watch the Inspector Window to see how the measurementschange.

4. Click on the outline of the box so the outline becomesdark. Drag on the outline to reposition the box.

GoLive #3

PLACING AN IMAGE ON YOUR PAGE:To place a picture on your page, you will need the ImageIcon from the Objects Palette.

1. Click and drag the Question mark Icon in GoLive 5.0and the Geometric Shapes Icon in GoLive 6.0 onto thegrid.

2. Click on the Icon to activate the Image Link in theInspector Window.

3. Note that the Inspector Window displays the message,Empty Reference.

4. Double Click on the TINY yellow envelope to theRight of this message to open this folder.

5. Browse for your Team folder and double click on yourimage. The Image name will appear next to File namein the Open Image window.

6. Click on Open to place the image on your page. Notethat the Inspector Window lists the location of theimage file.

TUTORIALSGoLive

TUTORIALS

GoLive

ALIGNING TEXT AND IMAGESWhen creating your final pages it is important to align images and textin the same way on all pages.

This will make the Web pages better looking and easier to follow. Aneasy way to be sure you are aligning images and text the same wayfrom page to page is to use the Transform Window to input positioninformation.

TO OPEN THE TRANSFORM WINDOW: Pull down the Window Menu and select Transform

To use the Transform Window1. Drag a Text or Image Icon to the page.

2. Select the Box and type new position numbersinto the top text areas in the Transform Window.

3. Note that the position of the Box on the page isshown in the Transform Window.

4. In the example to the Right the top Margin is 64Pixels

5. Select Align and Note that the icons on thispalette indicate the position of the box.

6. With the Box selected, Choose the Align Tab inthe Transform window.

7. In the top row of the Align Window Icons, choose Align to Parent,the second Icon in the

8. Hit the Return Key and note that the Box moves to a new positionon the page.

TUTORIALSGoLive

GOLIVE PALETTES AND LAYOUT GRID

GoLive #4

LINKING WEB PAGES:To allow viewers to move from page to page you mustadd navigation links. These can be words or images. This example willuse a word as a link.

Position a text box on the Web page and type the word that is to beyour link. Position this word at the top of the page or in a location thathas been selected for placing links on all pages.

TUTORIALS

GoLive

To Link the pages for your Team1. Click and Drag across the word you are using as a Link to

highlight it.

2. In the Inspector Window the Link Tab will appear.

3. Click on the tiny chain Icon to the Left of the words EmptyReference at the top of the Window.

4. Click on the tiny folder to the right of the wordsEmpty Reference and browse in your team folder for the next pagein your section.

Click on the File Name of the next page.e. The File Name will appear in the Link

Window.

f. Click on Open on the Link Window.

g. The Link Window will close and the infor-mation on your Linked Page will appear tothe Left of the Small Browse Folder.

TUTORIALSGoLive

LINKING WEB PAGES EXERCISE:Positioning Navigation Links

1. Open the Page that is to be the First in yourSection.

2. Drag a Text Icon to the top of the page and typethe word BACK.

3. Select the Box and choose the TransformWindow Align Icon to position this Box to theLeft side of the page.

4. Drag another Text Icon to the top of the pageand type the word TRAVEL or FORWARD.

5. Select the Box and choose the TransformWindow Align Icon to position this Box to theRight side of the page.

LINKING WEB PAGES:Testing Links:1. At the top of the Web page, click on the Preview Tab.

2. This will enable you to use GoLive as a browser.

3. Click on the image or icon you have used as a Link to thenext page.

4. The Linked page will open if your Link was successfully created.

TUTORIALSGoLive

Temperate Rain Forest

Completing the Site:1. Prepare the Introduction and Acknowledgments and Title Pages for

each section following the previous instructions for building pages.

2. Link these pages to the Team sections.

3. Follow Instructions in the GoLive Manual or the Peachpit PressVisual Quick Start Guide to upload your site to a Server and take itLive.

10.1.02

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