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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. -
Film Grain, Resolution and Fundamental Film Particles
FFFiiilllmmm GGGrrraaaiiinnn,,, RRReeesssooollluuutttiiiooonnn aaannnddd FFFuuunnndddaaammmeennntttaaalll FFFiiilllmmm PPPaaarrrtttiiicccllleeesss Version 9 March 2006 Tim Vitale © 2006 use by permission only 1 Introduction 1 2 Fundamental Film Particles – Silver-Halide 0.2 - 2.0 um 3 Feature Size and Digital Resolution: Data Table 1 4 Dye Clouds are the Fundamental Particles Color Film 6 3 Film Grain 6 Dye Clouds are the Film Grain in Color Film 6 Film Grain in Black-and-White Film 7 Cross-Section of Film 9 Grain Size Variability 9 RMS Granularity – Film Image Noise 9 RMS Granularity of Several Films: Data Table 2 10 Film Resolution – Sharpness 10 System Resolving Power Equation 12 Lens Issues Effecting Resolution 12 Film Issues Effecting Resolution 12 Evaluation a System: Camera, Lens and Film 13 Selected Film & Lens Resolution Data: Data Table 3 13 Camera System Resolving Power: Data Table 4 14 Measuring Film Grain 14 Print Grain Index 14 Size of Perceived Film Grain: Example 15 Size Domains for Enlargement & Magnification: Data Table 5 15 Maximum Resolution of a Microscope: Data Table 6 16 4 Eliminating Film Grain from an Image 18 Drum Scan Aperture 18 Feature size vs. Digital Resolution vs. Film: Data Table 7 19 Scan Resolution in Flatbed Scanning 19 Wet Mounting for Film Scanning 20 New Generation of Flatbed Scanners 21 Future Generation of Scanners – Epson Perfection V750-M 23 Software for Diminishing Film Grain 24 1 Introduction The purpose of this complex essay is to demonstrate the following: • Fundamental film particles (silver -
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. -
A Tone Signature Analysis of Multispectral Photography
University of North Dakota UND Scholarly Commons Theses and Dissertations Theses, Dissertations, and Senior Projects 8-1-1969 A Tone Signature Analysis of Multispectral Photography Michael V. Miller Follow this and additional works at: https://commons.und.edu/theses Recommended Citation Miller, Michael V., "A Tone Signature Analysis of Multispectral Photography" (1969). Theses and Dissertations. 3672. https://commons.und.edu/theses/3672 This Thesis is brought to you for free and open access by the Theses, Dissertations, and Senior Projects at UND Scholarly Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of UND Scholarly Commons. For more information, please contact [email protected]. A TONS SIGNATURE ANALYSIS OF MULTISPECTRAL PHOTOGRAPHY by Michael V. Miller Bachelor of Philosophy, University of North Dakota 196? A Thesis Submitted to the Faculty o f the University o f North Dakota in partial fulfillment of the requirements fo r the Degree o f Master of Science Grand Forks, North Dakota August 1969 T/W HU This thesis submitted by Michael V. Miller in partial fulfillment o f the requirements fo r the Degree o f Master o f Science from the University o f North Dakota is hereby approved by the Faculty Advisory Committee under whom the work has been done. i i 287930 Permission T itle A TONS SIGNATURE ANALYSIS OF MULTISPECTRAL PHOTOGRAPHY Department Department o f Geography Decree Master of Science______ __________ ______ ______ In presenting this thesis, in partial fulfillment of the requirements fo r a graduate degree from the University o f North Dakota, I agree that the Library o f this University shall make it freely available for inspection. -
Festschrift:Experimenting with Research: Kenneth Mees, Eastman
Science Museum Group Journal Festschrift: experimenting with research: Kenneth Mees, Eastman Kodak and the challenges of diversification Journal ISSN number: 2054-5770 This article was written by Jeffrey Sturchio 04-08-2020 Cite as 10.15180; 201311 Research Festschrift: experimenting with research: Kenneth Mees, Eastman Kodak and the challenges of diversification Published in Spring 2020, Issue 13 Article DOI: http://dx.doi.org/10.15180/201311 Abstract Early industrial research laboratories were closely tied to the needs of business, a point that emerges strikingly in the case of Eastman Kodak, where the principles laid down by George Eastman and Kenneth Mees before the First World War continued to govern research until well after the Second World War. But industrial research is also a gamble involving decisions over which projects should be pursued and which should be dropped. Ultimately Kodak evolved a conservative management culture, one that responded sluggishly to new opportunities and failed to adapt rapidly enough to market realities. In a classic case of the ‘innovator’s dilemma’, Kodak continued to bet on its dominance in an increasingly outmoded technology, with disastrous consequences. Component DOI: http://dx.doi.org/10.15180/201311/001 Keywords Industrial R&D, Eastman Kodak Research Laboratories, Eastman Kodak Company, George Eastman, Charles Edward Kenneth Mees, Carl Duisberg, silver halide photography, digital photography, Xerox, Polaroid, Robert Bud Author's note This paper is based on a study undertaken in 1985 for the R&D Pioneers Conference at the Hagley Museum and Library in Wilmington, Delaware (see footnote 1), which has remained unpublished until now. I thank David Hounshell for the invitation to contribute to the conference and my fellow conferees and colleagues at the University of Pennsylvania for many informative and stimulating conversations about the history of industrial research. -
Optimo 42 - 420 A2s Distance in Meters
DEPTH-OF-FIELD TABLES OPTIMO 42 - 420 A2S DISTANCE IN METERS REFERENCE : 323468 - A Distance in meters / Confusion circle : 0.025 mm DEPTH-OF-FIELD TABLES ZOOM 35 mm F = 42 - 420 mm The depths of field tables are provided for information purposes only and are estimated with a circle of confusion of 0.025mm (1/1000inch). The width of the sharpness zone grows proportionally with the focus distance and aperture and it is inversely proportional to the focal length. In practice the depth of field limits can only be defined accurately by performing screen tests in true shooting conditions. * : data given for informaiton only. Distance in meters / Confusion circle : 0.025 mm TABLES DE PROFONDEUR DE CHAMP ZOOM 35 mm F = 42 - 420 mm Les tables de profondeur de champ sont fournies à titre indicatif pour un cercle de confusion moyen de 0.025mm (1/1000inch). La profondeur de champ augmente proportionnellement avec la distance de mise au point ainsi qu’avec le diaphragme et est inversement proportionnelle à la focale. Dans la pratique, seuls les essais filmés dans des conditions de tournage vous permettront de définir les bornes de cette profondeur de champ avec un maximum de précision. * : information donnée à titre indicatif Distance in meters / Confusion circle : 0.025 mm APERTURE T4.5 T5.6 T8 T11 T16 T22 T32* HYPERFOCAL / DISTANCE 13,269 10,617 7,61 5,491 3,995 2,938 2,191 40 m Far ∞ ∞ ∞ ∞ ∞ ∞ ∞ Near 10,092 8,503 6,485 4,899 3,687 2,778 2,108 15 m Far ∞ ∞ ∞ ∞ ∞ ∞ ∞ Near 7,212 6,383 5,201 4,153 3,266 2,547 1,984 8 m Far 19,316 31,187 ∞ ∞ ∞ ∞ -
Evidences of Dr. Foote's Success
EVIDENCES OF J "'ll * ' 'A* r’ V*. * 1A'-/ COMPILED FROM BOOKS OF BIOGRAPHY, MSS., LETTERS FROM GRATEFUL PATIENTS, AND FROM FAVORABLE NOTICES OF THE PRESS i;y the %)J\l |)utlfs!iCnfl (Kompans 129 East 28tii Street, N. Y. 1885. "A REMARKABLE BOOKf of Edinburgh, Scot- land : a graduate of three universities, and retired after 50 years’ practice, he writes: “The work in priceless in value, and calculated to re- I tenerate aoclety. It la new, startling, and very Instructive.” It is the most popular and comprehensive book treating of MEDICAL, SOCIAL, AND SEXUAL SCIENCE, P roven by the sale of Hair a million to be the most popula R ! R eaaable because written in language plain, chasti, and forcibl E I instructive, practicalpresentation of “MidiciU Commc .'Sense” medi A V aiuable to invalids, showing new means by which they may be cure D A pproved by editors, physicians, clergymen, critics, and literat I T horough treatment of subjects especially important to young me N E veryone who “wants to know, you know,” will find it interestin C I 4 Parts. 35 Chapters, 936 Pages, 200 Illustrations, and AT T7 \\T 17'T7 * rpT T L) t? just introduced, consists of a series A It Ci VV ETjAI C U D, of beautiful colored anatom- ical charts, in fivecolors, guaranteed superior to any before offered in a pop ular physiological book, and rendering it again the most attractive and quick- selling A Arr who have already found a gold mine in it. Mr. 17 PCl “ work for it v JIj/1” I O Koehler writes: I sold the first six hooks in two hours.” Many agents take 50 or 100at once, at special rates. -
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. -
Art & Science of Photography.Indd
Art and Science of Photography by Jan Steinman ©2001–2007, Jan Steinman. All rights reserved. Contents Introduction 1 Art Camera Basics 3 and Exposure 5 Perspective 7 Motion Control 9 Depth of Field 11 Science Light 13 Macro 15 Composition 17 of Photography Field Trip 19 by Jan Steinman Contents Art & Science of Photography ii Introduction There are two types of people in this world: those who divide the world up into two types, and those who think there is more to it all than that. I guess I fall into both groups — I can’t make up my mind! On the one hand, it is useful to stereotype people, to better understand their motivations and desires. On the other hand, how dare anyone put me, or anyone else, in a nice, tidy box! Dividing up the world into “art” types and “science” types is a useful way to look at things. So much of what we do falls neatly into one category or another. Play music? Art. Build a machine? Science. On the other hand, no one exists who lives wholly in the realm of the aesthetic, just as technology alone cannot provide a full life. I’ll be making a special effort to bring these two together, but you have to join me in that effort. If you are an “art” type, try to pay special attention to the “science” bits — they’ll help you achieve the artistic effects that you may have thought were up to luck. Or if you are a “science” type, try to spend time on the “art” topics — they’ll help you get beyond technically profi- cient, but boring, images. -
A Guide to Smartphone Astrophotography National Aeronautics and Space Administration
National Aeronautics and Space Administration A Guide to Smartphone Astrophotography National Aeronautics and Space Administration A Guide to Smartphone Astrophotography A Guide to Smartphone Astrophotography Dr. Sten Odenwald NASA Space Science Education Consortium Goddard Space Flight Center Greenbelt, Maryland Cover designs and editing by Abbey Interrante Cover illustrations Front: Aurora (Elizabeth Macdonald), moon (Spencer Collins), star trails (Donald Noor), Orion nebula (Christian Harris), solar eclipse (Christopher Jones), Milky Way (Shun-Chia Yang), satellite streaks (Stanislav Kaniansky),sunspot (Michael Seeboerger-Weichselbaum),sun dogs (Billy Heather). Back: Milky Way (Gabriel Clark) Two front cover designs are provided with this book. To conserve toner, begin document printing with the second cover. This product is supported by NASA under cooperative agreement number NNH15ZDA004C. [1] Table of Contents Introduction.................................................................................................................................................... 5 How to use this book ..................................................................................................................................... 9 1.0 Light Pollution ....................................................................................................................................... 12 2.0 Cameras ................................................................................................................................................ -
Samyang T-S 24Mm F/3.5 ED AS
GEAR GEAR ON TEST: Samyang T-S 24mm f/3.5 ED AS UMC As the appeal of tilt-shift lenses continues to broaden, Samyang has unveiled a 24mm perspective-control optic in a range of popular fittings – and at a price that’s considerably lower than rivals from Nikon and Canon WORDS TERRY HOPE raditionally, tilt-shift lenses have been seen as specialist products, aimed at architectural T photographers wanting to correct converging verticals and product photographers seeking to maximise depth-of-field. The high price of such lenses reflects the low numbers sold, as well as the precision nature of their design and construction. But despite this, the tilt-shift lens seems to be undergoing something of a resurgence in popularity. This increasing appeal isn’t because photographers are shooting more architecture or box shots. It’s more down to the popularity of miniaturisation effects in landscapes, where such a tiny part of the frame is in focus that it appears as though you are looking at a scale model, rather than the real thing. It’s an effect that many hobbyist DSLRs, CSCs and compacts can generate digitally, and it’s straightforward to create in Photoshop too, but these digital recreations are just approximations. To get the real thing you’ll need to shoot with a tilt-shift lens. Up until now that would cost you over £1500, and when you consider the number of assignments you might shoot in a year using a tilt-shift lens, that’s not great value for money. Things are set to change, though, because there’s The optical quality of the lens is very good, and is a new kid on the block in the shape of the Samyang T-S testament to the reputation that Samyang is rapidly 24mm f/3.5 ED AS UMC, which has a street price of less gaining in the optics market.