michaelcockerham

<p>Simplest way is to use the type tool to write your wording across the image where you want it to be.<br>

Then in the layers palette, set the "fill" slider to zero.<br>

Then use the layer styles dialogue to introduce a drop shadow.<br>

Then use the opacity slider to set the effect to a point that you think is suitable.<br>

If you are clever, record a new action as you do all this. That way, the next time you load a picture, you can click on the action, click play, and it will automate the whole thing for you. Only thing you need to beware of is that the position of the text will be set relative to the top left of the image, so if you change the image size, the position of the text will appear to change accordingly.<br>

That's how to do it in PS. Never used Elements, but I hope it is similar for you and that this helps.</p>

<p>If you are printing your own stuff and using Hahnemühle papers, and you’re in the UK, you might be interested to know that I have just found a supplier who can get this stuff significantly cheaper than trade.<br>

No exaggeration. I have just bought a 12 metre roll of 24" Fine Art Baryta. The list on it is £159.13 + vat. The cheapest I can find it online is about £105 + vat. This supplier can get it to me delivered for £94.63 + vat. He has huge buying power which is why he can get the rates, but contractually he cannot advertise them, and these kind of price differentials are available across the entire product range.<br>

Just want to pass on the good news to anyone that’s interested. If you are, contact me and I will give you details.</p>

<p>The one issue that far too many photographers fail to take into account when considering this option is that of indirect marketing.<br>

Consider the following: you spend a small fortune on cameras, lenses, lighting, backgrounds, and know-how. You take the photos, optimize them on your computer system using (hopefully) a fully colour managed workflow with a calibrated and profiled monitor.<br>

You then supply the images on disc in an appropriate colour space. The client looks at these images on a cheap computer with a cheap monitor that is almost certainly NOT calibrated and profiled. They then print the pictures after fiddling with them (probably without sharpening appropriately for the output size) on cheap paper from a cheap printer with cheap compatible inks. Those "prints" then get passed around as examples of "your" work. What does it do for your reputation with potential future clients?<br>

The point is, passing out CDs can affect future income - not just the income from the job in question.</p>

<p>Just checking - have you calibrated and profiled your monitor? If not, almost all your editing will be so much rummaging in the dark. Also, make sure that you are in fact working in the colour spaces you think you are. PS can have an annoying habit of returning to default colour spaces, and it is very easy to have the RAW interface set to another colour space than the one you think you are in.</p>

<p>I have a fully colour managed workflow, runing prints via ACR in Bridge through a RIP to a wide format printer. All the printing is through the Adobe RGB 1998 colour space (except B&W whihc is in Grey Gamma 2.2), and I have no complaints on print quality - the prints sing.<br>

For web, files are converted to sRGB almost at the final stage, checking carefully for any significant shifts from out of gamut colours. Then I always export through PS "save for web" function. Bring up the "2 up" screen and you can check before and after views to see what effect the output will have. Make sure progressive is swtched off. In fact I have set up an action for natch converting files for web which is usually pretty reliable, and makes things quicker. You only have to keep an eye on those images that you know may have out of gamut issues. Hope that helps.</p>