digital image production
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Technical and AcademicTRANSCRIPT
7/17/2019 Digital Image Production
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INFORM TION EDUC TION FROM THE MIDDLE
E ST
FOR THE MIDDLE
E ST
7/17/2019 Digital Image Production
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If you have a yearmns. to
tckt
ym:r
photograp
hy
to
another
level.
st<Ft
here.
Whether you
ar-e newly
'apL
by
the
ima
ge
document (v11tuat ,me
physical) or
your
rJddiction
lrrJs beer1
lingering,
you
ar·e positively
a parl of
the
tecto
nic dcvc:·lopmerlts
occurring
m
this
field.
I
rnrJge Production hrJs
gone
through a
whole
host of changes cllld
rnovernen ts. These tra:1sformaticms
arc
creating
r
new
r rc:hitecture
fer
the field
of
photog
raphy.
Tht> first
photogtaphk fma:p,c
in
tentiona
lly
produced required an eight·hour exposure
timeinbrightsunlight aOOaccess Lospecia ized
tools and materials, which
'Y>'CI'<'
available to
only 1
prfvlteged
few. Techndogje,; tooay
rttlow
for
;; muttl·surfnce approach
to
the
pfoduct
i
on
ot
he.>
rrnagc. rc-apptop 'ia
ti
ng
the
spiritof
Mventute
that
once- betooee<l
only to
;;n.; og,ue
photo-production.
A photowapher tan bceln with something
nAd
nothing.
Your
tools are ns complex or
as simple as you make
CK
want them
to
be
.
An exquis.lte r m a ~ n be
p ~ e d
u s l ~ i
biscuit tin or h f g h · r ~ s . £isapixel digiti
equipment.
This
is a democratization of
the image itself.
With
lhis in
mi
nd
,
when it
comes
to
i t n . l ~
production, your timitati0f'6
are those that you set f yourself.
Defining
lhe lm:Jee
liSe\
f. The frame (Still or
moving• is a place where you can invite the
vk:wm to inhabit real space and a multitude
of autonornous
spaces
that
are
n
O{
~ b j e c t
to the laws of
the
real but are still strongly
rctatcd to
it.
The fr'amcd 'sctccn· knits
toge-ther s o r i ~ s time aod
pla.::e
In one
m.;terial posatioo
for
thevie\\-er, Andassoch s
able to invitc anothct lirnc and another place
into the c.'(tcrnal em1ro
nm
ent of the vieWer.
The viewer 1S at ooce frozen 11 1
space and
moving
through time in a trade-off
de
manded
by you, t.
he
prockJa:or'of the image. Rcftccton
t h f ~ remarkable s:lmuh.anelty, becaus.e this ls
where the true Mtureof the mAge tlselflies.
Pre· production:
WM.
t s 'lbur Objective?
Th
ink
about
t he
relational interaction of th work, the
Intended Uset 8nd
the
different :;paces or
in
tended
use. T<tke fnto ac.count
thAt
exte
rnal ,
physical
space is segmented, and subject to
val'ious conslfaints and r'C"StrainLS. Evfdrot
in that sp.;ce <tre the intennlnihng re{(ltion<tl
tines that unify different
ex
ternal spaces. alt
of
which arc regimented by the contemporary
heee-mon\C. power 1'1'\&e:hfnations .
Considcc' Your
Envir'OnmC'nt.
the usc
or
computer'screens l'equtres human fntera<Uons
in external
space
and results in
moYem
enlS
bolh vrrtual and
ma
lcr'ial. fot example. the
3rchllec.ture or a ' \<trtuat gallery' allows the
in
tended
user to waOOer around with few
limitations beyond
thoSC>
set
by
the
pr'od
ucer.
fnctucl
f
ng
consvafnu related to
th usetS
mO\<ements (e.g.
d.K:ki
ni ot t
he
•mouse'I.
User
, Screen, Image. The virwal image has
KNOWHOW
••••••••••••••••••••••••••••••••
Digital lmoge Production
no dimensions
if
it is not accessed, and
yet,
if it is. i l need not h3ve a beginning ex a.n
end
Any dimensaons Will fade awny when
the
intended user is able to mO\ e,
copy,
enlarge or r'Cdocc the scale or lhc
1mag.cs.
Images
may
be
parsed and unparsed If they
are digitaUy forw·arded throogh virtual space
and may conlinoo a til or their own lhrough
time In the space of tne www. The tNtetial
presentnrion
of
the
produced
worl
will
change with
each
passing second
and
wfth
each 1 \CIMQ..Ial p h y ~ t f c c l l envtronmenL
Text
ur
e.
Timt> and
COlour.
The nalurc ol
dfg1t&l
producuon
allows
more lreedom for
the Creanve. lnvemion
Wl1l
not be fnhfbited
by factors such as money. space, control or
censorship fn
the iame way that it may be In
the
physicalwort:d.
There
is immensepotential
for
the
creative assemblage
by
means
of
th
use
of
cotour.
texture and
till'JE'.
>>>
P RODUCTION
7/17/2019 Digital Image Production
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RAW fllo o o n w ; o r s t o n ~
It$.))''> on thr•I
PJbl'l.
hnfiQeS l&ken it a high·
rcsd.ution tirem.'lda up of
a
tol of pixels. bul
dtl
not
nr('(('$1>11rlly
have a
bcltct
resotulJOn.
tttt-p
In
m t ~ tht>•l"
t ~ s e n u a l
e t e ~ t . s . like
tht> trosyw
w , Wlll affect
the
actual
quality
of
)'OUr l ' f t 1 ~
CokJur Sp.k:.r-
1M
of aca.r.ue
~ rctk'S
on
'<N1'11Ch SC '55f ~ . ~ S e d .
pr1 0Sit"
whit,.
b.ll.lt'l(t'
the'
ci'IOkt" r:A IOk
al'ld papet"
td
a n t ~ co pnntt and c;orreaty cathranni
produttJO"'dcrvleCI. Themechanical eye
can
.dng
Canon
.crw
.cr1
ne{ .nrw
u
.drf
~ o m e 1 St"'Cor.c.i O b ~
of
'fOAJ' s u b j e c t ~
Most
camcorMWI\l
beset o t ~ s R G 8
(standard
red ;rccn
blue colour space) because
thalu
V ~ d r f i ' u l t fDI lnlel'nt'lulit", computer :;creens
nnd Y ( I r l l i ~
q u ~ l u y
pnnuna.
l.earnina
.1bout
Adobtt RG8 and ~ d o b c Wide Gamut RGB
lll.JY be
morf '
u1elul to yo.,,
as
both
of
the1e
11m
t.lrv,er
colour
c ano WlU E;'nable you
to achtCVl>'
richer cdaurs..
( you want to
brt»CCe1
yoJr ki10Wttdf" and
not
stick
to
me
•
def
a&i.l'mcnn tty,
n '.td
rncJf'e
in
the dobe
Wfllt.Q>
PIPtl
on
c:ou:u
ma ''.lg,emenL
The
' ' -
od\ne$ <""""' · a n d
tall.ft
you
tf'Pbv llt"Pif'ltO t"- '
W \it, vhf
ano
wf'lervof COloUt
t n l l t U ~
Oedsl0111 ~ b o u t colour t.p&Ct" are belter left
to post-product i
on
edttlng
When
it a
~ a s a e r to
eValuate
l m a ~
us.it19
1 hlah quahly sctecn.
Thl.s
Is
onlv
pcmlbl(o IHI'Ic'n
,hOOIInt "'I RAW
format.
AA'YI The AAW
(Otn\.}t a ltNtt. dau wtth no
in-c.amera proclf 'SIInt
Of ~
·t"s
alwayl
best lO
Sl'tOOt 11 1
RIW fati'Nl,
f
you
- '" .l'tG formal your . . _ " av•aoy
processed and
COII'C)IftSC id.
Shoot"'''"
RAW
atlows
for
Vital ed1l1ftl
PQ5t
producbon. ~
an
downi.CMd
4 tn l
RJ. III
ptut·lf' l
frQtfl
www.adobe.com.
AI ICSOluUon oi
10x
megapixels. a
2
GIG SO
card
wtll
store a.t'CI.nd
380
IITlago In
JP(G.
Al
the:
RAW SC tli,. the
same
spiKe will
StOr# III'OUnd
80 I T I ~ , $0 be
prepared
with n o ~ Jl.OniQe if yo
u usa
RAW
.
Shooting In
RAW
gl¥et
yoJ bcller
quality
photographs
becau
I w;u "ttowyou 10 have
more control
oVer
colour
spJace,
saturation.
jradauon,
sharptiC$5 Whttc" balance
a.nd
t.onatvalvtS
1n
P Q ' \ ~ p r o d u t u o n
tdtllne.
RAW
files ate
~
up
ot uncornpresseo aat.a
that
cnabl.r more ~ ftftdorn th.v1 the-
l n y .IPtG
~ I M .
T"""" II no...,
Sln;\efUWformat. t k t w f I N ~ t ~ o n p ' \ i t .
RAW f lo. l w a y s t.l'tr l l " • ~ • l t . ' d mage
dati M a new i ~ .
WOr'kil"' l w1lf\ RJ\ 11 h t ~ ' C 0 J ' ~ a tot or
stora.ee SQa<:e ~ n d h ~ i
ttw>
drawback ot a
slower
workflow.
bul "WO 'lh
lhP.
p . m e n ~ e
for wcato- CI'C3\IVC conllol. Theft' are
Sol 'veret RAW clllt& c.'Onverters to chOOSt"
trom
.
You can find moo:' lnformlltion nbout the
most
common
of
thew
prosra""""s
at www.
phaseooe.com.
www.dxo.com.
YJWW.applf .
com and w w a d o b ~ c o m
By
,_ I
Sl>mv»ory
MP
7/17/2019 Digital Image Production
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igital Image
Production·
Get to know your Camera.
As you a r n to e.xpenment md
play with your
camera controls, you vlill progressively see
them ror the inValuable tools
lha
l they arc.
Leave lhe fear
behll'\d,
tel i.O, experiment
and 1
nv
en t
.
The controls
are
not
a bnr
ri
ef';
they Will help yoo to know
what
you can do
and how
roo
W>ll be
abi;, to do it.
l>e
·mysllfy
the controls
by
taking th
em on.
-
3 - - - 1
~ -
-
-
-
II
.....
II
Key Camera Controls:
t t r ~ Expo Ufe . The
shutter
settiog
determines exposer time
X
how much lfihl
you
use
to
'pafnt'yourlmae,e-.
M lheshuner
opens and clcJo.se ,
the
sensor will record
two
things:
all
light and
atl
movement. You will
notice
an
impruvcmr:nt
in
your photographs
if you
try
using longer exposure lime. Th1s
is because ~ O U Wilt
be
able
to
introduce
m ~ n t
and richer colours into
ywr
compos
l tklns. both
of
which are lost whl n
applyingshort exposures.
Depth
o
Field. A
lot of
us are
seduced by
the
digital mediums ability to produce
an
C'XlCflSivc
dcplh
or
field. The visual affect
ot
this
ts
a Rat c o m p o s ~ t i o n , where everyt.hlfli
is crisp and shnrp. Experimenting
with
a
smaller
dCDlh
of fictld
adds
dimcnsionatity and
tnterest
to
yoor Dhot<Y5raphlc. composltloM.
Try
decreasing thedepth
of
field by controlling
aperture, focal
te
ngth a nd magnification.
Think.
about how
hum
am
st.'l' ,
and
try lo pay
atte
ntJon
1.0
what you can
see Wilen you
took at something, the
doseryw
r eyesare to
what
you rc
looking at, the
mOI'e of 1l ls fn
focus.
The
further
you
are fronl
YQUr
subject.
or
what
you
are
loo
ki
ll£ a t , the tess
of
it is
in focus. In
reality,
on\y a
sma.tt fX'rce-nt
or
what we see
t. 'harp
~
in locus.
sour
eyes
mO¥e from
scene to scene t
heyareconstantty
rc·foc
usmg. Don ' t
fol lc
l
that
p(C·ptoduclion
oonskleratlons
of
the Intended sl:re or the
itmge
will
in
fluence the perception
ol the
depth or field
by your
Viewer.
Figure
1 Dig.itat
Image Producti
on
ISO.
Phoc.ograp
h
l f's
Who
orhave used
ftl•n
wtlt be
fllmilii'lr
with the con
cep
t o.f •grain•.
Increased
film
se
nsitivity
wnl
increase
the
graininess
of the final image. k1
di\)i(a\
m ~ g e
PfoclJcUon,
the eq
ulva1ent
of
grain
is
'noise .
Digital noise
is
more complex
and variegated lha.o
film grain. Digital noise
resullS fn random specs tNt I)()
relation
to
the intended photocomposition . Noisecan
be
u
:sc.'d
in
lht>
same way
that grain is
used in
film. Afus,her setlfng
c.-
tower
l ~ e t
count
wnt
incr
ease
digit
al
noise
and
can
be
used
to
gi
IC
the
su
bject
a
' tl\llh·valuc'.
Resolution.
The
first thmg
to be
S3
id nbout
'high resoluti
on·
is
that it s no
t
always
What