DOCSLIB.ORG

Art & Still Life

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Art & Still Life OnlineOnline Issue 8 Michael Hall Pimp my Pic Shooting a long-term documentary project Glenn Edwards Johnathan Journalism Report Thompson Food Styling Image of the Blast From Month The Past Jonny Seymour Bryn Create Stunning Black Griffiths and White Portraits Contrived Spontaneity Michelle Whitmore Instagram Featured Photographer WALL PRODUCTS CONTENTS BASICS WITH BRIAN 4 - 10 UNDERSTANDING THE HISTOGRAM IMAGE OF THE MONTH 12 - 14 BLACK AND WHITE PORTRAITS 16 - 21 JONNY SEYMOUR FEATURED PHOTOGRAPHER 24 - 36 MICHELLE WHITMORE WELCOME TO THE BIG PHOTO ACADEMY LIVE CRIT TOP TEN 38 - 50 E-ZINE THE PHOTOGRAPHER ACADEMY This month we’ve decided to let our arty side PIMP MY PIC 52 - 53 out and contemplate the world of Still life and THE SYSTEM 54 - 73 Art photography. Photographer Academy ELINCHROM Master Michelle Whitmore lets us in on what drives her to keep experimenting, and Michael SHOOTING A LONG-TERM 74 - 90 DOCUMENTARY PROJECT Hall shares his passion and techniques that MICHAEL HALL have been the core of his long-term climate 92 - 93 change project. We also have the usual great BLAST FROM THE PAST selection of hints, tips and insights to help you POSING THE BRIDE take your photography to that next level. WHY YOU SHOULD PRINT YOUR 96 - 100 The Big Photo is, as ever, designed as a PHOTOGRAPHS LISA BEANEY celebration of photography, so expect the usual array of great images and useful tips ANTICIPATION OF COMPOSITION 102 - 103 on how you can improve you own images MARK SEYMOUR across a range of photographic subjects. CONTRIVED SPONTANEITY 104 - 108 And if you’re looking for something we BRYN GRIFFTHS Razor-sharp focus on your photography haven’t covered here, don’t forget that The Photographer Academy has a huge FEATURED STUDIO 110 - 121 Create high resolution wall art with metal or acrylic catalogue of films covering all sorts of CHRYSALIS photography. So, look for the links to click and make your photography the centre of attention. FOOD PHOTOGRAPHY STYLING through to The Photographer Academy 122 - 131 JONATHAN THOMPSON and our partners, for more great content. Remember we also want The Big Photo E-zine IT LOOKS OK, BUT 132 - 133 • Choice of print finishes to be what you want it to be, so feel free to VICTOR ABERDEEN let us know what content you’d like to see THE STORY IN THE IMAGE 134 - 137 • Sizes 8x8” to 60x40” covered and feel free to share each issue with GLENN EDWARDS • Clusters and Splits available all your photo friends. INSTAGRAM GALLERY 138 -139 • Creative framed options So, what are you waiting for, get out there and get shooting. TETHER TIPS • Produced in five working days 140 - 141 TOM PITTS Sam & The Photographer Academy Team Discover more...Visit loxleycolour.com or call 0123 686 2720 WHATS COMING UP 142 - 145 ss sio sio ion ofe ion fes na fes na ess al P Pr al ro l A ro l F f r The information within this publication is for information purposes only. PhotoTraining4u Ltd assumes no liability or responsibility t L P l P r ro o s a b a P d t t m e b s u s t u m c for any inaccurate, delayed or incomplete information, nor for any actions taken in reliance thereon. The information contained B e e e s t B e B s B about each individual or organization has been provided by such individual, or organization without verification by us. T T T T h h h h 6 6 6 6 1 1 1 1 e e e e 0 0 0 0 S S S S 2016 The opinion expressed in each article is the opinion of its author and does not necessarily reflect the opinion of 2 2 2 2 o o o o s s s s c c c c d d d d i i i i e e e e r r r r t t t t a a a a i i i i e e e e w w w w s s s s A A A A BEST PhotoTraining4u Ltd. Therefore, PhotoTraining4u Ltd. carries no responsibility for the opinion expressed therein. PROCESSING LAB Any form of reproduction of any content in this publication without the written permission of the publisher is strictly prohibited. All images reproduced with permission of copyright holders who retain all original rights. © 2017 PhotoTraining4u Ltd. All rights reserved. BASICS WITH BRIAN UNDERSTANDING THE HISTOGRAM BRIAN WORLEY A histogram is a graphical representation of the balance of tones from dark to light in an image. Histograms are powerful ways to help you understand exposure after the image is captured and in some instances, before too. The darkest tones are on the left of the chart, the brightest on the right, in the centre are the mid-tones, about 18% grey. For most kinds of pictures the aim is to get a picture where there is no significant overexposure – histogram pushed to the right, and no underexposure – histogram pushed to the left. The bell-shaped curve is sometimes shown as an example of a correct histogram. The histogram shape depends entirely on the picture content. Pictures of polar bears in the snow will have a histogram biased to the right, and black cats in coal cellars will be biased to the left. The histogram for the car photo is predominantly central, but the bright sky, and its reflection in the car windscreen, creates the tall peak on the extreme right side. A histogram displayed with the image. Most cameras can display histograms BASICS WITH BRIAN HISTOGRAMS IN PHOTOSHOP AND LIGHTROOM A histogram display from Lightroom with separate colour channels and the luminosity displayed This image contains many areas with dark tones, this gives the peak on the left side of the histogram. There is also a spread of lighter tones, that creates the flat wide section of the histogram on the right. The picture is not under or overexposed. A histogram that looks like a comb is your visual clue A histogram display from Photoshop with the that the image has been overworked luminosity/brightness displayed Most common photo editing programs be clear bands in the print. include a histogram display, there may be Ideally your histogram should be contained several options for colour and different within the range that your camera can channels to be displayed. Right click on the capture, if there is a big peak at the left histogram, or look in the software settings side then your shadows are too dark, and to change the histogram display. if there is a peak at the right side then the When editing images in Photoshop it is highlights are blown out. When shooting good to keep a watch on the histogram, if it with a mirrorless camera, or using Live starts to look like a comb, then you have an View on a DSLR you can usually display a image with gaps in the tonality, a good sign live histogram. This can be helpful to guide that the image has been worked too much. your exposure settings. For DSLR cameras, Images with such discontinuous tones are check the histogram after you have taken a not suited to printing since there will likely test picture. Shot on a white background these bottles of colourful liqueur have a good range of tones from shadows to highlights BASICS WITH BRIAN EXPOSE TO THE RIGHT & HIGH DYNAMIC RANGE By combining three separate pictures, the range of tones in this image is greater than the camera sensor can capture. It is still possible to be within the range displayed on the histogram. Exposing to the right has pushed the histogram almost completely to the right-hand edge, but not over it. Often you will find heated detail and tone. It works for many online debate on the topic of, images. how to optimise your exposure For some images the range of by reviewing the histogram. bright and dark tones exceeds the One common approach that capabilities of the image sensor. is discussed is “expose to the At this point you may need to right”. Expose to the right means use exposure bracketing to take changing your camera exposure a series of images at different settings so that the histogram exposure values and then combine has highlights pushed close to them in post processing to make the extreme right side, but not a high dynamic range image. touching it. This approach uses Many cameras have a built in HDR the knowledge that cameras have capability, though you can often a greater number of steps in the achieve better results doing the highlight section of images than processing on a computer. in the shadows. You can reduce the exposure and bring back The histogram shows the distribution of light and dark tones in an image. This photo has a mixture of bright sky on the left, giving the peak on the right of the histogram. There are many dark areas on the right of the picture that give the peak on the left of the histogram, there are comparatively few mid-tones. BRIAN WORLEY WWW.P4PICTURES.COM FUTHER LEARNING 1. Shoot a scene with a high 2. Shoot a range of scenes and 3. Keep the histogram on your contrast range, such as a black compare the histograms. Are display the next few times you object on a white background. they all very similar or is there go out shooting, does having Does the histogram look a lot of variance depending on it as a reference help you to balanced even when the the content of the image? gauge your exposure.
Recommended publications
  • Intro to Digital Photography.Pdf

    Intro to Digital Photography.Pdf

    ABSTRACT Learn and master the basic features of your camera to gain better control of your photos. Individualized chapters on each of the cameras basic functions as well as cheat sheets you can download and print for use while shooting. Neuberger, Lawrence INTRO TO DGMA 3303 Digital Photography DIGITAL PHOTOGRAPHY Mastering the Basics Table of Contents Camera Controls ............................................................................................................................. 7 Camera Controls ......................................................................................................................... 7 Image Sensor .............................................................................................................................. 8 Camera Lens .............................................................................................................................. 8 Camera Modes ............................................................................................................................ 9 Built-in Flash ............................................................................................................................. 11 Viewing System ........................................................................................................................ 11 Image File Formats ....................................................................................................................... 13 File Compression ......................................................................................................................
  • Optimum Exposure but Think About This for a Moment. Who Gets to Say

    Optimum Exposure but Think About This for a Moment. Who Gets to Say

    Optimum exposure But think about this for a moment. Who gets to say whether a given exposure is correct or not? I don’t like using the word correct in relation to exposure because it implies that there is only one right answer. I prefer the term ‘optimum exposure’. This is the exposure setting that is best suited to the scene that you are photographing and the medium you are using. Imagine that you are photographing the same subject with four different cameras. One is loaded with black and white film, another with colour transparency film, the third with colour negative film and the last is a digital camera. Each has the same lens and frames the subject the same way. The quantity of light falling on the subject is also the same. Potentially, the scene could require four different exposure settings. That’s because each camera is using a different medium which reacts to light in a slightly different way. Film users will know that black and white film, slide film and colour negative film all need to be treated differently. The same goes for digital cameras. Put simply, the optimum exposure depends as much on the medium you are using as the quantity of light falling on the subject. That’s another reason why cameras get exposure wrong. The metering system has yet to be invented that takes into account the medium being used as well as the amount of light entering the lens. JPEG vs. RAW Even with digital cameras, the optimum exposure may be different depending on whether you are using the JPEG or Raw format.
  • Nature Photography Articles? Send Them to the Editor

    Nature Photography Articles? Send Them to the Editor

    Front Page | Articles | Galleries | Forums | Portfolios | Gear Shoppe | Links | Membership Shoot It RAW! Text and photography copyright © Nick Rains. All rights reserved. A RAW file is like raw sugar - it is unprocessed (and sweet!). Untouched, basic, linear digital information uninterpreted by software. Not very useful as it is but, more importantly, not locked into any file format or colour balance that might restrict its future use. Some people call a RAW file a 'digital negative' but it is considerably more than that. A RAW file is a 'latent image' and is much more like an exposed but unprocessed B+W negative, as we'll see in a moment. Now, bear with me a moment whilst I set the scene by very briefly looking at how good old film works. Film Both traditional film and digital sensors in dSLRs capture light in a single exposure but the way they do this is quite different. Sensitised transparency materials consist of an essentially random distribution of 'grains' which are chemically processed to reveal the dye couplers in different layers of the film. All films have slightly different responses to colours - Kodak films are often more neutral and Fuji films are more saturated and brighter. Light is actually recorded in 3 different layers, each one dedicated to a particular range of wavelengths of light. Colour film can actually be thought of as 3 layers of B+W film with one of the 3 different primary additive colour dyes in each layer. Exposure to light chemically transforms the light sensitive grains into a latent image proportionate to the intensity of the light.
  • Side 6-22. Del 2. Efterbehandling Af Billeder Taget I Svagt Lys – Side 23-32

    Side 6-22. Del 2. Efterbehandling Af Billeder Taget I Svagt Lys – Side 23-32

    Vs.2 af Allan Kierulff Indledning: side 2-5 Del 1: Fototeknikkens udstyr og basis regler – side 6-22. Del 2. Efterbehandling af billeder taget i svagt lys – side 23-32. https://fotografering.allan-kierulff.dk/ BILLEDET ER TAGET MED: ISO 100, -2EV, F8 4 SEK. NEDENFOR: ISO 3200, F2.8, 1/30 SEK. 1 Når lyset tager af, ændrer selv de mest velkendte scener sig, hvilket skaber en mulighed for helt anderledes billeder. Natoptagelse kræver lange eksponeringer for at sikre, at svage lysniveauer optages på sensoren. DSLR kameraet giver mulighed for at eksponerer i op til 30 sekunder, men der kan være tidspunkter, hvor der er brug for længere lukkertider for at optage virkelig mørke scener som eks. vis. måne-belyste landskaber. Kameraet skal stilles i funktionen ”Bulb”. Ved hjælp af kameraets ”Bulb” funktion kan lukkeren holdes åben så længe det skal være, hvilket giver lyset mere tid til at registrer billedt på kortet. Lav-lys fotografering er ikke nødvendigvis bare natfotografering, som mange mennesker antager. Det kan være forskellige lys-mængder fra forskellige kilder, og hvad der er svagere end lys i dagtimerne, anser jeg for svage lys. I denne artikel vil jeg udelukkende holde mig til fotografering udendørs. Tre niveauer af svagt lys. Før vi går videre, lad os først definere de forskellige niveauer af svagt lys og kategorisere dem, så så begreberne er på plads. 1. Synlig til svagt: i dagslys ved tilfældige skyggeområder - bag bygninger, under store træer eller broer o.l. 2. Svagt til lavt lys: Efter eller lige omkring solnedgang, når det stadig er klart nok til at se alt omkring sig, eller når man er indendørs.
  • The Snapshot

    The Snapshot

    A Newsletter of the Redwood Camera Club THE SNAPSHOT July and August 2016 SOME SUMMER SIXTEEN It may be hard to believe, but this year brings us the 8th annual Humboldt Photography Exhibition. Eight years! Five of the seven grand prize winners have been RCC members. Entry day is July 16th at the RAA, 609 F Street, from 11AM to 2PM. Complete details should have been emailed to all RCC members. If you didn’t get this email, please contact Sharon Falk-Carlsen. This IN THIS ISSUE year the Eureka Chamber of Commerce has chosen to focus on the RAA for the month of August. Some Summer ‘16 ..................... 1 This entails a cocktail event to be held at the RAA building (while the HPE in on exhibit) on August Kathryn Mayo Samples .......... 2 18th from 5PM-7PM. Everyone is invited! And besides this, the HPE is a wonderful photography Maxing Dynamic Range ......... 3 competition and exhibition. Part One: Alfred Stieglitz ..... 4-5 The judge this year is Kathryn Mayo, who heads the photography program at Consumnes River College Freshwater Farms Trail ........ 6-7 in Sacramento, where since 2007 she has been teaching Exploring Bald Hills ................ 8 photography full-time and where she has served as chair Flowers by Pam ....................... 9 of her department. She teaches a broad range of classes in Shore Acres ............................. 10 both film and digital, encompassing all film formats from Classifieds & Notices .............. 10 35mm to large and ultra large format, photo history, photo manipulation, and alternative photographic processes. She Board Members ...................... 10 also teaches private workshops at her home studio in the wet Annual Picnic Info ................
  • Fundamentals of Photography PHTC 1311 2017

    Fundamentals of Photography PHTC 1311 2017

    Southwest College Course Syllabus PHTC 1311 Fundamentals of Photography CRN 34407 – Fall 2017 Alief – Hayes Campus- Room B319 | 6:00 pm –9:50 pm | Tue Instructor: Terry Halsey Instructor Contact Information: Office: 832.248.6892 | Email: [email protected] Office location and hours: I do not have an office on campus Please feel free to contact me concerning any problems that you are experiencing in this course. You do not need to wait until you have received a poor grade before asking for my assistance. Your performance in my class is very important to me. I am available to hear your concerns and just to discuss course topics. Feel free to come by my office anytime during these hours. Course Description An introduction to digital camera operation, image production, composition, supplemental lighting, and use of exposure meters and filters. Prerequisites Prerequisites Lead 1370 Total Course Hours Credit and Lecture - 96.00; External Hours: 48 hours Note: One hour of classroom instruction equates to a minimum of 1.5 hours of out-of-class student work for each week. External hours of student work may include assignments, projects, research, exam certification practice, and/or field trips. Example: 2 lecture, 4 lab hours Lecture 2hrs x 16 weeks = 32 hrs Lab hours 4hrs x 16 weeks = 64 hrs External Hours 3hrs x 16 weeks = 48 hrs TOTAL hours = 144 hours Instructional Materials Required: A Short Course in Photography [Barbara London, Jim Stone ISBN: 978-0-205-99825-8) Supplemental: Adobe Lightroom and Photoshop for Photographers ISBN: 978-0-13-381671-6 Equipment needed for class 1.
  • Louis Benjamin. the Naked and the Lens

    Louis Benjamin. the Naked and the Lens

    THE NAKED AND THE LENS A GUIDE FOR NUDE PHOTOGRAPHY Louis Benjamin This page intentionally left blank THE NAKED AND THE LENS A GUIDE FOR NUDE PHOTOGRAPHY Louis Benjamin AMSTERDAM • BOSTON • HEIDELBERG • LONDON NEW YORK • OXFORD PARIS • SAN DIEGO SAN FRANCISCO • SINGAPORE • SYDNEY • TOKYO Focal Press is an imprint of Elsevier Focal Press is an imprint of Elsevier 30 Corporate Drive, Suite 400, Burlington, MA 01803, USA Linacre House, Jordan Hill, Oxford OX2 8DP, UK Copyright © 2010, Elsevier Inc. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher. Permissions may be sought directly from Elsevier’s Science & Technology Rights Department in Oxford, UK: phone: (+44) 1865 843830, fax: (+44) 1865 853333, E-mail: [email protected]. You may also complete your request on-line via the Elsevier homepage (http://elsevier.com), by selecting “Support & Contact” then “Copyright and Permission” and then “Obtaining Permissions.” Library of Congress Cataloging-in-Publication Data Application submitted British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library. ISBN: 978-0-240-81159-8 For information on all Focal Press publications visit our website at www.elsevierdirect.com Typeset by: diacriTech, Chennai, India 10 11 12 13 5 4 3 2 1 Printed in Canada Dedication To Denise, with more love than you can imagine. You always inspire me, and any magic in these pages comes from you.
  • Photographic Noise Performance Measures Based on RAW Files Analysis of Consumer Cameras

    Photographic Noise Performance Measures Based on RAW Files Analysis of Consumer Cameras

    Article Photographic Noise Performance Measures Based on RAW Files Analysis of Consumer Cameras Jorge Igual Instituto de Telecomunicaciones y Aplicaciones Multimedia (ITEAM), Departamento de Comunicaciones, Universitat Politècnica de València, 46022 Valencia, Spain; [email protected]; Tel.: +34-96-6528515 Received: 30 September 2019; Accepted: 31 October 2019; Published: 4 November 2019 Abstract: Photography is being benefited from the huge improvement in CMOS image sensors. New cameras extend the dynamic range allowing photographers to take photos with a higher quality than they could imagine one decade ago. However, the existence of different technologies make more complicated the photographic analysis of how to determine the optimal camera exposure settings. In this paper, we analyze how the different noise models are translated to different signal to noise SNR curve patterns and which factors are relevant. In particular, we discuss profoundly the relationships between exposure settings (shutter speed, aperture and ISO). Since a fair comparison between cameras can be tricky because of different pixel size, sensor format or ISO scale definition, we explain how the pixel analysis of a camera can be translated to a more helpful universal photographic noise measure based on human perception and common photography rules. We analyze the RAW files of different camera models and show how the noise performance analysis (SNR and dynamic range) interact with photographer’s requirements. Keywords: photography; CMOS image sensor; noise; signal to noise ratio; dynamic range 1. Introduction Photography has experienced two revolutions in this century so far: the technological one, where digital cameras have replaced film cameras (the substitution was completed in 2008 [1]), and the social one, where cameras in mobile phones, the Internet and social media are changing the use and meaning of photography beyond the traditional one (i.e., to capture life moments) [2], making photography more popular, cheaper, easier, faster and less skill demanding.
  • Winter - 2021 Volume 4 Issue 1

    Winter - 2021 Volume 4 Issue 1

    Winter - 2021 Volume 4 Issue 1 The Seven Ponds Photography Club, formed in 2009, was created to promote the advancement of photography as an art. The purpose of the club is to bring together persons of like mind who are dedicated to the advancement of their skills by association with other members, through the study of the work of others and through spirited and friendly competition. The club exists to offer opportunities for all to share knowledge within the club and in the community, through exhibitions and programs that excite interest in the knowledge and practice of all branches of photography. Sutherland Nature Sanctuary Valentine’s SPPC Members, Weekend Group Outing Contributor – Tina Daniels, photos by Kristin Due to the growing concerns over the Grudzien COVID-19/Coronavirus, and the decision of Seven Ponds Nature Center to close for group meetings for everyone's well On Feb. 13, 2021 we had our being, the Seven Ponds Photo Club Board of Directors has decided it is in the first Seven Ponds Photograph best interest of our club members and Club Valentine’s Day any visitors to cancel our upcoming in- Scavenger hunt at Sutherland person meetings: Nature Sanctuary. The scavenger hunt was spread We are sorry for any inconvenience and out over 1.2 miles that traversed different hope that you and your family stay landscape topography in the area. Each trail- head healthy and safe. was marked by large multi-colored hearts, to Jim Lewis ensure participants knew which trail to explore. The weather was a balmy 20 degrees and there SPPC President was soft snow falling that morning.
  • The Practical Zone System, Fourth Edition

    The Practical Zone System, Fourth Edition

    JohnsonChapt_Prelims.qxd 8/4/06 6:53 PM Page i THE PRACTICAL ZONE SYSTEM This page intentionally left blank JohnsonChapt_Prelims.qxd 8/4/06 6:53 PM Page iii THE PRACTICAL ZONE SYSTEM for Film and Digital Photography Fourth Edition A Simple Guide to Photographic Control CHRIS JOHNSON Amsterdam • Boston • Heidelberg • London New York • Oxford • Paris • San Diego San Francisco • Singapore • Sydney • Tokyo Focal Press is an imprint of Elsevier JohnsonChapt_Prelims.qxd 8/4/06 6:53 PM Page iv Acquisitions Editor: Diane Heppner Project Manager: Paul Gottehrer Assistant Editor: Stephanie Barrett Marketing Manager: Christine Degon Veroulis Cover Design: Alisa Andreola Interior Design: Alisa Andreola Typesetter: Charon Tec Ltd (A Macmillan Company), Chennai, India; www.charontec.com Focal Press is an imprint of Elsevier 30 Corporate Drive, Suite 400, Burlington, MA 01803, USA Linacre House, Jordan Hill, Oxford OX2 8DP, UK Copyright © 2007, Elsevier Inc. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher. Permissions may be sought directly from Elsevier’s Science & Technology Rights Department in Oxford, UK: phone: (ϩ44) 1865 843830, fax: (ϩ44) 1865 853333, E-mail: [email protected]. You may also complete your request on-line via the Elsevier homepage (http://elsevier.com), by selecting “Support & Contact” then “Copyright and Permission” and then “Obtaining Permissions.” Recognizing the importance of preserving what has been written, Elsevier prints its books on acid-free paper whenever possible. Library of Congress Cataloging-in-Publication Data Application submitted British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library.
  • The Use of a Standardized Gray Reference Card in Dental Photography to Correct the Effects of Five Commonly Used Diffusers on the Color of 40 Extracted Human Teeth

    The Use of a Standardized Gray Reference Card in Dental Photography to Correct the Effects of Five Commonly Used Diffusers on the Color of 40 Extracted Human Teeth

    HEIN/ZANGL CLINICAL RESEARCH CLINICAL RESEARCH The use of a standardized gray reference card in dental photography to correct the effects of five commonly used diffusers on the color of 40 extracted human teeth Sascha Hein, MDT Private Dental Laboratory Michael Zangl, MDT Private Dental Laboratory Correspondence to: Sascha Hein, MDT Dentaltechnik Christ & Hein GmbH, Karl-Benz-Str. 25, 86825 Bad Wörishofen, Germany. Tel.: 0049 8247 5320 Fax.: 0049 8247 31965; E-mail: [email protected] 2 THE INTERNATIONAL JOURNAL OF ESTHETIC DENTISTRY VOLUME 11 • NUMBER 2 • SUMMER 2016 HEIN/ZANGL Abstract ter software (Ricci Adams, version 1.6 (122)) was used to obtain CIE L*a*b* Objective: The aim of this in vitro study values of the specimens before and af- was to investigate the color changes of ter white balancing and exposure cor- human teeth caused by five different dif- rection. fuser materials commonly used in dental Results: All diffusers caused visually photography, as well as software influ- perceivable color changes on the ex- ence, and to confirm whether the use tracted teeth: White Frost (∆E* 1.24; of a standardized gray reference card sd 0.47), 80 gsm printing paper is effective in correcting these color (∆E* 2.94; sd 0.35), LumiQuest polyam- changes during digital postproduction. ide (∆E* 3.68; sd 0.54), PET (∆E* 6.55; Materials and method: Forty extracted sd 0.41), and 3M linear polarizing fil- human teeth were obtained from a spe- ter sheet (∆E* 7.58; sd 1.00). The use cialized oral surgery practice in Cham, of a standardized gray reference card Germany.
  • Exposing for RAW - Digital Photo Pro

    Exposing for RAW - Digital Photo Pro

    Exposing For RAW - Digital Photo Pro http://www.digitalphotopro.com/technique/camera-technique/e... Exposing For RAW There are special considerations to take into account if you're shooting RAW and you want to be sure that you're getting a proper exposure By Andrew Rodney You wouldn't think changing image capture from film to digital photography would require a new way to think about exposure, but it may, depending on how you use your digital camera. This is because a digital camera sensor behaves quite differently from how film and our human visual system respond to light intensity. Digital cameras record data in a linear fashion. The human visual system responds to stimuli in a nonlinear fashion. Example: You enter a pitch-black room and turn on a 100-watt light; you see a fixed amount of light intensity, as would a digital camera. You then turn on a second 100-watt light, thus doubling the light output. Because humans have a built-in nonlinear visual system, the room doesn't appear twice as bright. Because of the linear behavior of a digital camera's image sensor, how-ever, the camera would record the scene as twice as bright. What Is RAW Linear Data? The digital sensors in our cameras translate the intensity of light energy (photons) into an electrical charge, which is converted to a digital value. In Figure 1, you can see how a hypothetical camera sensor can record six stops of dynamic range, from shadow to highlight, using 12-bit encoding (0 to 4096 levels).