An Investigation Into the Practicality of Using a Digital Camera's Raw Data in Print Publishing Applications
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Alternative Processes a Few Essentials Introduction
Alternative Processes A Few Essentials Introduction Chapter 1. Capture Techniques From Alternative Photographic Processes: Crafting Handmade Images Chapter 2. Digital Negatives for Gum From Gum Printing: A Step-by-Step Manual, Highlighting Artists and Their Creative Practice Chapter 3. Fugitive and Not-So-Fugitive Printing From Jill Enfield?s Guide to Photographic Alternative Processes: Popular Historical and Contemporary Techniques 2 Featured Books on Alternative Process Photography from Routledge | Focal Press Use discount code FLR40 to take 20% off all Routledge titles. Simply visit www.routledge.com/photography to browse and purchase books of interest. 3 Introduction A young art though it may be, photography already has a rich history. As media moves full steam ahead into the digital revolution and beyond, it is a natural instinct to look back at where we?ve come from. With more artists rediscovering photography?s historical processes, the practice of photography continually redefines and re-contextualizes itself. The creative possibilities of these historical processes are endless, spawning a growing arena of practice - alternative processes, which combines past, present and everything in between, in the creation of art. This collection is an introduction to and a sample of these processes and possibilities. With Alternative Photographic Processes, Brady Wilks demonstrates techniques for manipulating photographs, negatives and prints ? emphasizing the ?hand-made? touch. Bridging the gap between the simplest of processes to the most complex, Wilks? introduction demonstrates image-manipulation pre-capture, allowing the artist to get intimate with his or her images long before development. In the newly-released Gum Printing, leading gum expert Christina Z. -
A Digital Astrophotography Primer - OR - This Is NOT Your Daddy’S SLR!
A Digital Astrophotography Primer - OR - This is NOT your Daddy’s SLR! Page 1 of 22 Table of Contents A Digital Astrophotography Primer...........................................................................................................................................................1 Table of Contents.......................................................................................................................................................................................2 Introduction............................................................................................................................................................................................3 What is an SLR, anyways? ....................................................................................................................................................................3 SLR, DSLR, What’s the Difference?.....................................................................................................................................................4 The Viewfinder ......................................................................................................................................................................................4 The Focus Mechanism ...........................................................................................................................................................................5 The Capture Medium .............................................................................................................................................................................6 -
Digital Negative (DNG) Specification
Digital Negative (DNG) Ë Specification Version 1.1.0.0 February 2005 ADOBE SYSTEMS INCORPORATED Corporate Headquarters 345 Park Avenue San Jose, CA 95110-2704 (408) 536-6000 http://www.adobe.com Copyright © 2004-2005 Adobe Systems Incorporated. All rights reserved. NOTICE: All information contained herein is the property of Adobe Systems Incorporated. No part of this publication (whether in hardcopy or electronic form) may be reproduced or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written consent of Adobe Systems Incorporated. Adobe, the Adobe logo, and Photoshop are either registered trademarks or trademarks of Adobe Systems Incorporated in the United States and/or other countries. All other trademarks are the property of their respective owners. This publication and the information herein is furnished AS IS, is subject to change without notice, and should not be construed as a commitment by Adobe Systems Incorporated. Adobe Systems Incorporated assumes no responsibility or liability for any errors or inaccuracies, makes no warranty of any kind (express, implied, or statutory) with respect to this publication, and expressly disclaims any and all warranties of merchantability, fitness for particular purposes, and noninfringement of third party rights. Table of Contents Preface . .vii About This Document . vii Audience . vii How This Document Is Organized . vii Where to Go for More Information . viii Chapter 1 Introduction . 9 The Pros and Cons of Raw Data. 9 A Standard Format . 9 The Advantages of DNG . 10 Chapter 2 DNG Format Overview . .11 File Extensions . 11 SubIFD Trees . 11 Byte Order . 11 Masked Pixels . -
The DIGITAL NEGATIVE & PRINT Books
THE DIGITAL NEGATIVE Raw Image Processing in Lightroom, Camera Raw, and Photoshop JEFF SCHEWE Peachpit Press THE DIGITAL NEGATIVE RAW IMAGE PROCEssING IN LIGHTROOM, CAMERA RAW, AND PHOTOSHOP Jeff Schewe PEACHPIT PREss www.peachpit.com To report errors, please send a note to: [email protected] Peachpit Press is a division of Pearson Education. Copyright © 2013 by Jeff Schewe Acquisitions Editor: Rebecca Gulick Production Editor: Lisa Brazieal Development and Copy Editor: Elizabeth Kuball Compositor: Kim Scott/Bumpy Design Proofreader: Patricia Pane Indexer: Emily Glossbrenner Cover and Interior Designer: Mimi Heft NOTICE OF RIGHTS All rights reserved. No part of this book may be reproduced or transmitted in any form by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher. For information on getting permission for reprints and excerpts, contact [email protected]. NOTICE OF LIABILITY The information in this book is distributed on an “As Is” basis, without warranty. While every precau- tion has been taken in the preparation of the book, neither the author nor Peachpit Press shall have any liability to any person or entity with respect to any loss or damage caused or alleged to be caused directly or indirectly by the instructions contained in this book or by the computer software and hardware products described in it. TrADEMARKS Adobe, Adobe Bridge, Adobe Camera Raw, Lightroom, and Photoshop are registered trademarks of Adobe Systems Incorporated in the United States and/or other countries. All other trademarks are the property of their respective owners. Many of the designations used by manufacturers and sellers to distinguish their products are claimed as trademarks. -
JPEG-HDR: a Backwards-Compatible, High Dynamic Range Extension to JPEG
JPEG-HDR: A Backwards-Compatible, High Dynamic Range Extension to JPEG Greg Ward Maryann Simmons BrightSide Technologies Walt Disney Feature Animation Abstract What we really need for HDR digital imaging is a compact The transition from traditional 24-bit RGB to high dynamic range representation that looks and displays like an output-referred (HDR) images is hindered by excessively large file formats with JPEG, but holds the extra information needed to enable it as a no backwards compatibility. In this paper, we demonstrate a scene-referred standard. The next generation of HDR cameras simple approach to HDR encoding that parallels the evolution of will then be able to write to this format without fear that the color television from its grayscale beginnings. A tone-mapped software on the receiving end won’t know what to do with it. version of each HDR original is accompanied by restorative Conventional image manipulation and display software will see information carried in a subband of a standard output-referred only the tone-mapped version of the image, gaining some benefit image. This subband contains a compressed ratio image, which from the HDR capture due to its better exposure. HDR-enabled when multiplied by the tone-mapped foreground, recovers the software will have full access to the original dynamic range HDR original. The tone-mapped image data is also compressed, recorded by the camera, permitting large exposure shifts and and the composite is delivered in a standard JPEG wrapper. To contrast manipulation during image editing in an extended color naïve software, the image looks like any other, and displays as a gamut. -
Certified Digital Designer Professional Certification Examination Review
Digital Imaging & Editing and Digital & General Photography Certified Digital Designer Professional Certification Examination Review Within this presentation – We will use specific names and terminologies. These will be related to specific products, software, brands and trade names. ADDA does not endorse any specific software or manufacturer. It is the sole decision of the individual to choose and purchase based on their personal preference and financial capabilities. the Examination Examination Contain at Total 325 Questions 200 Questions in Digital Image Creation and Editing Image Editing is applicable to all Areas related to Digital Graphics 125 Question in Photography Knowledge and History Photography is applicable to General Principles of Photography Does not cover Photography as a General Arts Program Examination is based on entry level intermediate employment knowledge Certain Processes may be omitted that are required to achieve an end result ADDA Professional Certification Series – Digital Imaging & Editing the Examination Knowledge of Graphic and Photography Acronyms Knowledge of Graphic Program Tool Symbols Some Knowledge of Photography Lighting Ability to do some basic Geometric Calculations Basic Knowledge of Graphic History & Theory Basic Knowledge of Digital & Standard Film Cameras Basic Knowledge of Camera Lens and Operation General Knowledge of Computer Operation Some Common Sense ADDA Professional Certification Series – Digital Imaging & Editing This is the Comprehensive Digital Imaging & Editing Certified Digital Designer Professional Certification Examination Review Within this presentation – We will use specific names and terminologies. These will be related to specific products, software, brands and trade names. ADDA does not endorse any specific software or manufacturer. It is the sole decision of the individual to choose and purchase based on their personal preference and financial capabilities. -
Film Printing
1 2 3 4 5 6 7 8 9 10 1 2 3 Film Technology in Post Production 4 5 6 7 8 9 20 1 2 3 4 5 6 7 8 9 30 1 2 3 4 5 6 7 8 9 40 1 2 3111 This Page Intentionally Left Blank 1 2 3 Film Technology 4 5 6 in Post Production 7 8 9 10 1 2 Second edition 3 4 5 6 7 8 9 20 1 Dominic Case 2 3 4 5 6 7 8 9 30 1 2 3 4 5 6 7 8 9 40 1 2 3111 4 5 6 7 8 Focal Press 9 OXFORD AUCKLAND BOSTON JOHANNESBURG MELBOURNE NEW DELHI 1 Focal Press An imprint of Butterworth-Heinemann Linacre House, Jordan Hill, Oxford OX2 8DP 225 Wildwood Avenue, Woburn, MA 01801-2041 A division of Reed Educational and Professional Publishing Ltd A member of the Reed Elsevier plc group First published 1997 Reprinted 1998, 1999 Second edition 2001 © Dominic Case 2001 All rights reserved. No part of this publication may be reproduced in any material form (including photocopying or storing in any medium by electronic means and whether or not transiently or incidentally to some other use of this publication) without the written permission of the copyright holder except in accordance with the provisions of the Copyright, Designs and Patents Act 1988 or under the terms of a licence issued by the Copyright Licensing Agency Ltd, 90 Tottenham Court Road, London, England W1P 0LP. Applications for the copyright holder’s written permission to reproduce any part of this publication should be addressed to the publishers British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Library of Congress Cataloging in Publication Data A catalogue record -
Compendium for Digital Photography
English translation sponsored by: English translation sponsored by: Image Engineering COMPENDIUM FOR DIGITAL PHOTOGRAPHY A cooperation of : Compendium for digital photography 1 English translation sponsored by: Image Engineering Preambel Dear readers. The "Compendium for digital photography" aka. "DigiPix" in version 3 was originally written and published November 2004 in and by the cooperation of the adf (Working Group Digital Photography) and the ECI (European Color Initiative) - in german only. With the kind of posi- tive acceptance we received in public the idea of an international ver- sion available in english was soon born and eventually realized. Due to the fast paced innovation in the field of digital photography and digital imaging in general some areas of this guide are not up-to-date with the latest and greatest. An updated version will be available in the near future. Meanwhile the authoring team hopes to provide you, the photog- rapher with a batch of tips and helpful background info, in order to make your daily digital job a lot easier. I would like to thank the sponsors, Image Engineering Dietmar Wüller, Tecco Braun & Frings GmbH and LaserSoft Imaging AG for making this translation possible through their much appreciated support. We wanted to make sure that this publication can be used as freely as possible which is why we issued CREATIVE COMMONS PUBLIC LICENSE at the end of this document. We the authors expect the compliance with it. Jan-Willem Rossée September of 2006 ([email protected]) The authors: adf (workingroup digital photography): Reinhard Fittkau, Holger Hagedorn, Dirk Hartmann, Dr. Martin Knapp, Matthias Weise ECI: Dieter Dolezal, Dietmar Fuchs, Jan-Willem Rossée, Andre Schützen- hofer, Dietmar Wueller weitere Autoren: Ulrike Haessler, Christian Westphalen 2 Compendium for digital photography English translation sponsored by: Image Engineering Content Preamble 2 Content 3 1. -
Digital Capture Terms
DIGITAL CAPTURE TERMS Digital Sensors: Light sensitive electronic chips used in digital cameras in place of film in regular cameras. There are two basic types of chips: • CMOS (Complementary Metal Oxide Semiconductor) – Less expensive and less power consumption (i.e. longer battery life). CMOS chips stay cooler so there is less digital noise at higher ISO settings. • CCD (Charged Coupled Device) - CCD will almost always have a greater dynamic range, but runs hotter and will have more digital noise. Chip Size/Megapixels: This is roughly analogous to film size, but there are two factors to consider: the physical size of the chip and the number of megapixels. A megapixel is 1 million pixels and camera manufacturers use it to describe how many pixels are in an image captured by a digital camera. The chart below shows some common chip sizes and the image resolutions they produce. Megapixels Pixel Dimensions Image Size at 300dpi Image Size at 240dpi 1 1216 x 912 3” x 4” 3.75” x 5” 3.1 2048 x 1563 5” x 6.5” 6.5” x 8.5” 4 2240 x 1680 5.5” x 7.5” 7” x 9.25” 5 2560 x 1920 6.5” x 8.5” 8” x 10.5” 6 3032 x 2008 6.75” x 10” 8.25” x 12.5” 11.1 4064 x 2704 9” x 13.5” 11” x 17” 22 5440 x 4080 13.5” x 18” 17” x 22.5” File types / compression: Most digital cameras give you the option to shoot in a few different file formats. -
Tone Reproduction: a Perspective from Luminance-Driven Perceptual Grouping
International Journal of Computer Vision c 2006 Springer Science + Business Media, Inc. Manufactured in The Netherlands. DOI: 10.1007/s11263-005-3846-z Tone Reproduction: A Perspective from Luminance-Driven Perceptual Grouping HWANN-TZONG CHEN Institute of Information Science, Academia Sinica, Nankang, Taipei 115, Taiwan; Department of CSIE, National Taiwan University, Taipei 106, Taiwan [email protected] TYNG-LUH LIU Institute of Information Science, Academia Sinica, Nankang, Taipei 115, Taiwan [email protected] CHIOU-SHANN FUH Department of CSIE, National Taiwan University, Taipei 106, Taiwan [email protected] Received June 16, 2004; Revised May 24, 2005; Accepted June 29, 2005 First online version published in January, 2006 Abstract. We address the tone reproduction problem by integrating the local adaptation effect with the consistency in global contrast impression. Many previous works on tone reproduction have focused on investigating the local adaptation mechanism of human eyes to compress high-dynamic-range (HDR) luminance into a displayable range. Nevertheless, while the realization of local adaptation properties is not theoretically defined, exaggerating such effects often leads to unnatural visual impression of global contrast. We propose to perceptually decompose the luminance into a small number of regions that sequentially encode the overall impression of an HDR image. A piecewise tone mapping can then be constructed to region-wise perform HDR compressions, using local mappings constrained by the estimated global perception. Indeed, in our approach, the region information is used not only to practically approximate the local properties of luminance, but more importantly to retain the global impression. Besides, it is worth mentioning that the proposed algorithm is efficient, and mostly does not require excessive parameter fine-tuning. -
SEAP Preparing Digital Negative
Preparing a digital image negative Preparing your source image: 1. Open Photoshop 2. Open your image: - File —> Open… - Locate image (Desktop, Documents, etc.) 3. Save a new ‘original’ image as a Photoshop file - File —> Save As… - Choose to make a Photoshop file (probably the default) - File name suggestion ‘Description.psd’ 4. Convert your image to 16-bit: - Image —> Mode —> 16-bits/Channel 5. Convert your image to Adobe RGB (1998): - Edit —> Convert to Profile… - Destination Space/Profile: ‘Adobe RGB (1998)’ - Conversion Options: Engine - Adobe (ACE), Intent - Perceptual - ‘Use Black Point Compensation is checked Editing your image: NOTE: There are millions of ways to edit an image in Photoshop, and you can spend the rest of your life finding them. Below are a couple of quick and trusty editing paths to try. Nik Silver Efex Pro 2 Filter - Filter —> Nik Collection —> Silver Efex Pro 2 - 000 Neutral - 005 High Structure (harsh) - 015 Full Dynamic (harsh) - 019 Fine Art Process Applying a Contrast Curve: 1. Image —> Adjustments —> Curves (command-M) 2. Add a point at the corner of the lower left square 3. Add a point at the corner of the upper right square 4. These are two good starting points to make some subtle contrast changes 5. Pull these points slightly left/right, up/down 6. Once you are happy with the results, click ‘OK’ Once you have converted your image to black and white and adjusted it to happiness, this is a good time to save your file: - File —> Save… - File name suggestion ‘Description BW.psd’ Getting your Image Ready to Print: 1. -
Chapter 20 Photographic Films
P d A d R d T d 6 IMAGING DETECTORS CHAPTER 20 PHOTOGRAPHIC FILMS Joseph H . Altman Institute of Optics Uniy ersity of Rochester Rochester , New York 20 . 1 GLOSSARY A area of microdensitometer sampling aperture a projective grain area D optical transmission density D R reflection density DQE detective quantum ef ficiency d ( m ) diameter of microdensitometer sampling aperture stated in micrometers E irradiance / illuminance (depending on context) & Selwyn granularity coef ficient g absorbance H exposure IC information capacity M modulation M θ angular magnification m lateral magnification NEQ noise equivalent quanta P ( l ) spectral power in densitometer beam Q 9 ef fective Callier coef ficient q exposure stated in quanta / unit area R reflectance S photographic speed S ( l ) spectral sensitivity S / N signal-to-noise ratio of the image 20 .3 20 .4 IMAGING DETECTORS T transmittance T ( … ) modulation transfer factor at spatial frequency … t duration of exposure WS ( … ) value of Wiener (or power) spectrum for spatial frequency … g slope of D-log H curve … spatial frequency r ( l ) spectral response of densitometer s ( D ) standard deviation of density values observed when density is measured with a suitable sampling aperture at many places on the surface s ( T ) standard deviation of transmittance f ( τ ) Autocorrelation function of granular structure 20 . 2 STRUCTURE OF SILVER HALIDE PHOTOGRAPHIC LAYERS The purpose of this chapter is to review the operating characteristics of silver halide photographic layers . Descriptions of the properties of other light-sensitive materials , such as photoresists , can be found in Ref . 4 . Silver-halide-based photographic layers consist of a suspension of individual crystals of silver halide , called grains , dispersed in gelatin and coated on a suitable ‘‘support’’ or ‘‘base .