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Elements of Screenology: Toward an Archaeology of the Screen 2006
Repositorium für die Medienwissenschaft Erkki Huhtamo Elements of screenology: Toward an Archaeology of the Screen 2006 https://doi.org/10.25969/mediarep/1958 Veröffentlichungsversion / published version Zeitschriftenartikel / journal article Empfohlene Zitierung / Suggested Citation: Huhtamo, Erkki: Elements of screenology: Toward an Archaeology of the Screen. In: Navigationen - Zeitschrift für Medien- und Kulturwissenschaften, Jg. 6 (2006), Nr. 2, S. 31–64. DOI: https://doi.org/10.25969/mediarep/1958. Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Deposit-Lizenz (Keine This document is made available under a Deposit License (No Weiterverbreitung - keine Bearbeitung) zur Verfügung gestellt. Redistribution - no modifications). We grant a non-exclusive, Gewährt wird ein nicht exklusives, nicht übertragbares, non-transferable, individual, and limited right for using this persönliches und beschränktes Recht auf Nutzung dieses document. This document is solely intended for your personal, Dokuments. Dieses Dokument ist ausschließlich für non-commercial use. All copies of this documents must retain den persönlichen, nicht-kommerziellen Gebrauch bestimmt. all copyright information and other information regarding legal Auf sämtlichen Kopien dieses Dokuments müssen alle protection. You are not allowed to alter this document in any Urheberrechtshinweise und sonstigen Hinweise auf gesetzlichen way, to copy it for public or commercial purposes, to exhibit the Schutz beibehalten werden. Sie dürfen dieses Dokument document in public, to perform, distribute, or otherwise use the nicht in irgendeiner Weise abändern, noch dürfen Sie document in public. dieses Dokument für öffentliche oder kommerzielle Zwecke By using this particular document, you accept the conditions of vervielfältigen, öffentlich ausstellen, aufführen, vertreiben oder use stated above. anderweitig nutzen. Mit der Verwendung dieses Dokuments erkennen Sie die Nutzungsbedingungen an. -
Completing a Photography Exhibit Data Tag
Completing a Photography Exhibit Data Tag Current Data Tags are available at: https://unl.box.com/s/1ttnemphrd4szykl5t9xm1ofiezi86js Camera Make & Model: Indicate the brand and model of the camera, such as Google Pixel 2, Nikon Coolpix B500, or Canon EOS Rebel T7. Focus Type: • Fixed Focus means the photographer is not able to adjust the focal point. These cameras tend to have a large depth of field. This might include basic disposable cameras. • Auto Focus means the camera automatically adjusts the optics in the lens to bring the subject into focus. The camera typically selects what to focus on. However, the photographer may also be able to select the focal point using a touch screen for example, but the camera will automatically adjust the lens. This might include digital cameras and mobile device cameras, such as phones and tablets. • Manual Focus allows the photographer to manually adjust and control the lens’ focus by hand, usually by turning the focus ring. Camera Type: Indicate whether the camera is digital or film. (The following Questions are for Unit 2 and 3 exhibitors only.) Did you manually adjust the aperture, shutter speed, or ISO? Indicate whether you adjusted these settings to capture the photo. Note: Regardless of whether or not you adjusted these settings manually, you must still identify the images specific F Stop, Shutter Sped, ISO, and Focal Length settings. “Auto” is not an acceptable answer. Digital cameras automatically record this information for each photo captured. This information, referred to as Metadata, is attached to the image file and goes with it when the image is downloaded to a computer for example. -
Depth-Aware Blending of Smoothed Images for Bokeh Effect Generation
1 Depth-aware Blending of Smoothed Images for Bokeh Effect Generation Saikat Duttaa,∗∗ aIndian Institute of Technology Madras, Chennai, PIN-600036, India ABSTRACT Bokeh effect is used in photography to capture images where the closer objects look sharp and every- thing else stays out-of-focus. Bokeh photos are generally captured using Single Lens Reflex cameras using shallow depth-of-field. Most of the modern smartphones can take bokeh images by leveraging dual rear cameras or a good auto-focus hardware. However, for smartphones with single-rear camera without a good auto-focus hardware, we have to rely on software to generate bokeh images. This kind of system is also useful to generate bokeh effect in already captured images. In this paper, an end-to-end deep learning framework is proposed to generate high-quality bokeh effect from images. The original image and different versions of smoothed images are blended to generate Bokeh effect with the help of a monocular depth estimation network. The proposed approach is compared against a saliency detection based baseline and a number of approaches proposed in AIM 2019 Challenge on Bokeh Effect Synthesis. Extensive experiments are shown in order to understand different parts of the proposed algorithm. The network is lightweight and can process an HD image in 0.03 seconds. This approach ranked second in AIM 2019 Bokeh effect challenge-Perceptual Track. 1. Introduction tant problem in Computer Vision and has gained attention re- cently. Most of the existing approaches(Shen et al., 2016; Wad- Depth-of-field effect or Bokeh effect is often used in photog- hwa et al., 2018; Xu et al., 2018) work on human portraits by raphy to generate aesthetic pictures. -
DEPTH of FIELD CHEAT SHEET What Is Depth of Field? the Depth of Field (DOF) Is the Area of a Scene That Appears Sharp in the Image
Ms. Brown Photography One DEPTH OF FIELD CHEAT SHEET What is Depth of Field? The depth of field (DOF) is the area of a scene that appears sharp in the image. DOF refers to the zone of focus in a photograph or the distance between the closest and furthest parts of the picture that are reasonably sharp. Depth of field is determined by three main attributes: 1) The APERTURE (size of the opening) 2) The SHUTTER SPEED (time of the exposure) 3) DISTANCE from the subject being photographed 4) SHALLOW and GREAT Depth of Field Explained Shallow Depth of Field: In shallow depth of field, the main subject is emphasized by making all other elements out of focus. (Foreground or background is purposely blurry) Aperture: The larger the aperture, the shallower the depth of field. Distance: The closer you are to the subject matter, the shallower the depth of field. ***You cannot achieve shallow depth of field with excessive bright light. This means no bright sunlight pictures for shallow depth of field because you can’t open the aperture wide enough in bright light.*** SHALLOW DOF STEPS: 1. Set your camera to a small f/stop number such as f/2-f/5.6. 2. GET CLOSE to your subject (between 2-5 feet away). 3. Don’t put the subject too close to its background; the farther away the subject is from its background the better. 4. Set your camera for the correct exposure by adjusting only the shutter speed (aperture is already set). 5. Find the best composition, focus the lens of your camera and take your picture. -
Colour Relationships Using Traditional, Analogue and Digital Technology
Colour Relationships Using Traditional, Analogue and Digital Technology Peter Burke Skills Victoria (TAFE)/Italy (Veneto) ISS Institute Fellowship Fellowship funded by Skills Victoria, Department of Innovation, Industry and Regional Development, Victorian Government ISS Institute Inc MAY 2011 © ISS Institute T 03 9347 4583 Level 1 F 03 9348 1474 189 Faraday Street [email protected] Carlton Vic E AUSTRALIA 3053 W www.issinstitute.org.au Published by International Specialised Skills Institute, Melbourne Extract published on www.issinstitute.org.au © Copyright ISS Institute May 2011 This publication is copyright. No part may be reproduced by any process except in accordance with the provisions of the Copyright Act 1968. Whilst this report has been accepted by ISS Institute, ISS Institute cannot provide expert peer review of the report, and except as may be required by law no responsibility can be accepted by ISS Institute for the content of the report or any links therein, or omissions, typographical, print or photographic errors, or inaccuracies that may occur after publication or otherwise. ISS Institute do not accept responsibility for the consequences of any action taken or omitted to be taken by any person as a consequence of anything contained in, or omitted from, this report. Executive Summary This Fellowship study explored the use of analogue and digital technologies to create colour surfaces and sound experiences. The research focused on art and design activities that combine traditional analogue techniques (such as drawing or painting) with print and electronic media (from simple LED lighting to large-scale video projections on buildings). The Fellow’s rich and varied self-directed research was centred in Venice, Italy, with visits to France, Sweden, Scotland and the Netherlands to attend large public events such as the Biennale de Venezia and the Edinburgh Festival, and more intimate moments where one-on-one interviews were conducted with renown artists in their studios. -
Dof 4.0 – a Depth of Field Calculator
DoF 4.0 – A Depth of Field Calculator Last updated: 8-Mar-2021 Introduction When you focus a camera lens at some distance and take a photograph, the further subjects are from the focus point, the blurrier they look. Depth of field is the range of subject distances that are acceptably sharp. It varies with aperture and focal length, distance at which the lens is focused, and the circle of confusion – a measure of how much blurring is acceptable in a sharp image. The tricky part is defining what acceptable means. Sharpness is not an inherent quality as it depends heavily on the magnification at which an image is viewed. When viewed from the same distance, a smaller version of the same image will look sharper than a larger one. Similarly, an image that looks sharp as a 4x6" print may look decidedly less so at 16x20". All other things being equal, the range of in-focus distances increases with shorter lens focal lengths, smaller apertures, the farther away you focus, and the larger the circle of confusion. Conversely, longer lenses, wider apertures, closer focus, and a smaller circle of confusion make for a narrower depth of field. Sometimes focus blur is undesirable, and sometimes it’s an intentional creative choice. Either way, you need to understand depth of field to achieve predictable results. What is DoF? DoF is an advanced depth of field calculator available for both Windows and Android. What DoF Does Even if your camera has a depth of field preview button, the viewfinder image is just too small to judge critical sharpness. -
Download This Issue
TUTORIAL A CREATIVE JUMP-START | MIKE RODRIGUEZ 2015 | JULY A Creative Jump-Start: CREATING A LENS FLARE BRUSHMIKE RODRIGUEZ DOUBLE CreatingTHE aFUN! Simulated Double Exposure Image DIANA DAY SUBSCRIBER +SHOWCASE How to Identify Which Edits Your Photo Needs ERIN PELOQUIN JULY 2015 | 1 EDITOR’S NOTE | TABLE OF CONTENTS JULY | 2 015 VOLUME 12, NUMBER 5 From the Editor Hello, With summer in full swing, grab your camera and dive into the endless photo ops out there. From picnics with family and friend, to traveling to exotic locations, you EDITOR-IN-CHIEF Diana Kloskowski don't want to miss any opportunities. Make sure you have your camera, extra batteries, and memory cards handy while you’re on the lookout for great shots. When CREATIVE DIRECTOR Eduardo Lowe you get back to your computer, we hope you’ll find arti- cles and videos on the PET site to help you transform CONTRIBUTING WRITERS Mike Rodriguez your photos into cherished memories. Diana Day Till next time, Erin Peloquin Diana Kloskowski Editor-in-Chief PUBLISHED BY PHOTO ONE MEDIA, INC. 15333 SW Sequoia Parkway, Suite 150 Portland OR 97224 (503) 968-1813 PRESIDENT Craig Keudell Table of Contents GENERAL MANAGER Rick LePage WEB MARKETING MANAGER Thomas Penberthy 03 Creative Jump-Start: Creating a Lens Flare Brush WEB DEVELOPMENT Jim Mock Learn how to create and save a very versatile lens flare brush that can be used in a variety of projects. by Mike Rodriguez SUBSCRIBER SERVICE INFORMATION Double the Fun! How do I change my email or mailing address? Log on to the 09 Dive into your creative side, and create simulated double website (www.photoshopelementsuser.com). -
Depth of Focus (DOF)
Erect Image Depth of Focus (DOF) unit: mm Also known as ‘depth of field’, this is the distance (measured in the An image in which the orientations of left, right, top, bottom and direction of the optical axis) between the two planes which define the moving directions are the same as those of a workpiece on the limits of acceptable image sharpness when the microscope is focused workstage. PG on an object. As the numerical aperture (NA) increases, the depth of 46 focus becomes shallower, as shown by the expression below: λ DOF = λ = 0.55µm is often used as the reference wavelength 2·(NA)2 Field number (FN), real field of view, and monitor display magnification unit: mm Example: For an M Plan Apo 100X lens (NA = 0.7) The depth of focus of this objective is The observation range of the sample surface is determined by the diameter of the eyepiece’s field stop. The value of this diameter in 0.55µm = 0.6µm 2 x 0.72 millimeters is called the field number (FN). In contrast, the real field of view is the range on the workpiece surface when actually magnified and observed with the objective lens. Bright-field Illumination and Dark-field Illumination The real field of view can be calculated with the following formula: In brightfield illumination a full cone of light is focused by the objective on the specimen surface. This is the normal mode of viewing with an (1) The range of the workpiece that can be observed with the optical microscope. With darkfield illumination, the inner area of the microscope (diameter) light cone is blocked so that the surface is only illuminated by light FN of eyepiece Real field of view = from an oblique angle. -
Photography for Archaeologists Part II : Artefact Recording
Photography for Archaeologists Part II : Artefact recording Guide 26 BAJR Practical Guide Series Lisa Jayne Fisher June 2009 © held by authors Photography for Archaeologists Contents Introduction 1 Coins 3 Flint 4 Pottery 5 Glass 6 Exposing correctly with a light-box 8 Colour temperature 9 Camera attachments: filters & close-ups 10 Use of scales 11 Bracketing 12 Building a copy stand 12 Further Reading & Other Notes 13 1 Photography for Archaeologists Introduction Artefact recording is another area in archaeology that is often overlooked and mis-represented. Not only does the archival quality of the resulting image matter but a simple understanding of lighting can achieve an enormous impact on the given textures, form and inherent detail of objects, giving valuable information which is often lost. Depending on the complexity of the artefacts’ shape, lighting can be experimented with by finding the best position and angle of the lights used for the job. It is often a laborious job to find the time to read up on the correct lighting positions for any given artefact. Often, it is far better to spend some time experimenting and observing, to find the best solution in any given situation. This will help you to judge artefacts by eye, leading to an implicit understanding of the qualities of light and should lead to sound practical experience, which should then become second nature. Simple lighting or copy stands can be cheaply purchased or rigs can be built out of simple materials utilizing desk lamps if your budget is limited. See final section on how to improvise with lighting. -
Special Techniques to Make Your Image Different
Special techniques to make your image different 1. Timelapse in one image During a photo tour in Yunnan province, China, we go shoot at a busy local market. I, however, like to experiment something new, presenting the hustle and bustle of the market photographically in a unique way: A time-lapse compressed into one image. To achieve the result, 2 approaches coming to my mind: Option 1. Using the in-camera Multiple exposure mode: Nikon cameras has multiple exposure functions for long time. After years of being ignored, it finally comes to Canon cameras starting 5D III, which I happen to use. This one is shot using "Average" mode in multiple exposure, I set total of 9 exposures, taking one shot every couple seconds, the exposure is automatically reduced, proportional to the number of shots taken, to avoid over-exposing common areas or overlapping bright areas. Where overlapping areas do occur, the final brightness level will be the same as the would have been in a single, properly- exposed shot. And, any non-overlapping areas will be darkened. The final combined image is automatically generated by the camera. The pro is that you can experiment a lot with this technique, simple and fast. The con however, is that you have no control on the resulting image at all. The camera has full control here. Option 2. Taking a lot shots and manipulate them in post processing: This is a hard way, but you have absolute control of the final image. It, however, is time-consuming and requires lots of fiddling with Photoshop. -
Depth of Field in Photography
Instructor: N. David King Page 1 DEPTH OF FIELD IN PHOTOGRAPHY Handout for Photography Students N. David King, Instructor WWWHAT IS DDDEPTH OF FFFIELD ??? Photographers generally have to deal with one of two main optical issues for any given photograph: Motion (relative to the film plane) and Depth of Field. This handout is about Depth of Field. But what is it? Depth of Field is a major compositional tool used by photographers to direct attention to specific areas of a print or, at the other extreme, to allow the viewer’s eye to travel in focus over the entire print’s surface, as it appears to do in reality. Here are two example images. Depth of Field Examples Shallow Depth of Field Deep Depth of Field using wide aperture using small aperture and close focal distance and greater focal distance Depth of Field in PhotogPhotography:raphy: Student Handout © N. DavDavidid King 2004, Rev 2010 Instructor: N. David King Page 2 SSSURPRISE !!! The first image (the garden flowers on the left) was shot IIITTT’’’S AAALL AN ILLUSION with a wide aperture and is focused on the flower closest to the viewer. The second image (on the right) was shot with a smaller aperture and is focused on a yellow flower near the rear of that group of flowers. Though it looks as if we are really increasing the area that is in focus from the first image to the second, that apparent increase is actually an optical illusion. In the second image there is still only one plane where the lens is critically focused. -
Multiple Exposure Notes
MULTIPLE EXPOSURE NOTES • Read your manual to determine what features your camera offers • Check the setting for default time out and adjust to your needs • Some camera will save each image in a multiple exposure series while others do not. • Check to see if Live View is available when shooting multiple exposures • Turn on your grid in the view finder and/or live view to help placement. • Shooting Menu o On – Series will continue multiple exposure mode until turned off o On – Single will turn off after one multiple exposure completed o Off - *Make sure you turn off when finished! o Number of shots varies from camera to camera with some restricted to 2 exposures and others up to 10 (or more) • Multiple Exposure Modes o Auto Gain: Turning off would require all adjustments to be done manually. When on, the camera will adjust the exposure of each frame automatically to try and avoid overexposure. o Add (Additive): The exposures are overlaid without any modification / adjustment o Average: This provides an automatic exposure control whereby each image is automatically underexposed to allow for a correctly exposed final image. o Lighten: The pixels in the images are compared and only brightest pixels are used to overlay. o Darken: The pixels in the images are compared and only the darkest are used to overlay. • Previsualize what you want as the end result and find compatible images. Use your grid or a part of your subject to help line up individual images. • Multiple Exposure Hints and Tips o Simple double exposure using Auto Gain is usually available in all camera with Multiple Exposure option.