ISO Standards for Museum Imaging Cdi V1.0
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6.11 Description of the Special Functions of Silverfasthdr…
6.11 Description of the Special Functions of SilverFastHDR…, and SilverFastDC… The scanner independent SilverFast versions SilverFastHDR… and SilverFastDC… principally have the same basic functions of the scanner modules of SilverFastAi…. The differences are listed in detail in Chapter 6.11. What are the Basic Differences? SilverFastAi, SilverFastAiStudio and SilverFastSE SilverFastAi is a true scan software and was developed individually for single scan types. The supported scanners are directly control- led by utilizing the internal dynamics of the scanner. The result is maximum quality. SilverFastAi is the name of the full version. This version may be extended by two features (at the time of printing this manual). “IT8 calibration” and “StudioUpgrade”. The IT8 calibration is included with several scanners, and may be purchased optionally for other scanners. The StudioUpgrade is generally available only as an option and turns a SilverFastAi version into a SilverFastAiStudio version. SilverFastSE is the special edition of the SilverFast scanning soft- ware. The dialogues and functions are limited and more recco- mended for novice users. SilverFastHDR, SilverFastHDRStudio SilverFastHDR works without a scanner and is used as a tool for optimising existing pictures. All RGB image files having a colour depth of 24 bits (8 bits per channel) and 48 bits (16 bits per chan- nel) can be processed. The files can be in Tiff or JPEG. SilverFastHDRStudio also works with RAW data of many digital cameras. SilverFast® Manual 6.11 • SilverFastDC…, -HDR… 253 MSt K6 11 E WebOpti.indd 190606 MSt E WebOpti.indb 253 19.06.2006 9:45:07 Uhr SilverFastDCVLT, SilverFastDCPro, SilverFastDCProStudio, SilverFastDCSE The SilverFastDC… versions are also hardware independent soft- ware packages for imaging that have been specially adapted for use by digital photographers. -
Evolution of Photography: Film to Digital
University of North Georgia Nighthawks Open Institutional Repository Honors Theses Honors Program Fall 10-2-2018 Evolution of Photography: Film to Digital Charlotte McDonnold University of North Georgia, [email protected] Follow this and additional works at: https://digitalcommons.northgeorgia.edu/honors_theses Part of the Art and Design Commons, and the Fine Arts Commons Recommended Citation McDonnold, Charlotte, "Evolution of Photography: Film to Digital" (2018). Honors Theses. 63. https://digitalcommons.northgeorgia.edu/honors_theses/63 This Thesis is brought to you for free and open access by the Honors Program at Nighthawks Open Institutional Repository. It has been accepted for inclusion in Honors Theses by an authorized administrator of Nighthawks Open Institutional Repository. Evolution of Photography: Film to Digital A Thesis Submitted to the Faculty of the University of North Georgia In Partial Fulfillment Of the Requirements for the Degree Bachelor of Art in Studio Art, Photography and Graphic Design With Honors Charlotte McDonnold Fall 2018 EVOLUTION OF PHOTOGRAPHY 2 Acknowledgements I would like thank my thesis panel, Dr. Stephen Smith, Paul Dunlap, Christopher Dant, and Dr. Nancy Dalman. Without their support and guidance, this project would not have been possible. I would also like to thank my Honors Research Class from spring 2017. They provided great advice and were willing to listen to me talk about photography for an entire semester. A special thanks to my family and friends for reading over drafts, offering support, and advice throughout this project. EVOLUTION OF PHOTOGRAPHY 3 Abstract Due to the ever changing advancements in technology, photography is a constantly growing field. What was once an art form solely used by professionals is now accessible to every consumer in the world. -
Chronology of the Department of Photography
f^ The Museum otI nModer n Art May 196k 11 West 53 Street, New York, N.Y. 10019 Circle 5-8900 Cable: Modernart CHRONOLOGY OF THE DEPARTMENT OF PHOTOGRAPHY The Department of Photography was established in lQl+0 to function as a focal center where the esthetic problems of photography can be evaluated, where the artist who has chosen the camera as his medium can find guidance by example and encouragement and where the vast amateur public can study both the classics and the most recent and significant developments of photography. 1929 Wi® Museum of Modern Art founded 1952 Photography first exhibited in MURALS BY AMERICAN PAINTERS AND PHOTOGRAPHERS; mural of George Washington Bridge by Edward Steichen included. Accompany ing catalog edited by Julian Levy. 1953 First photographs acquired for Collection WALKER EVANS: PHOTOGRAPHS OF 19th CENTURY HOUSES - first one-man photogra phy show. 1937 First survey exhibition and catalog PHOTOGRAPHY: I839-I937, by Beaumont NewhalU 1958 WALKER EVANS: AMERICAN PHOTOGRAPHS. Accompanying publication has intro duction by Lincoln Firstein. Photography: A Short Critical History by Beaumont Newhall published (reprint of 1937 publication). Sixty photographs sent to the Musee du Jeu de Paume, Paris, as part of exhibition TE.3E CENTURIES OF AMERICAN ART organized and selected by The Museum of Modern Art. 1939 Museum opens building at 11 West 53rd Street. Section of Art in Our Tims (10th Anniversary Exhibition) is devoted to SEVEN AMERICAN PHOTOGRAPHERS. Photographs included in an exhibition of paintings and drawings of Charles Sheeler and in accompanying catalog. 19^0 Department of Photography is established with David McAlpin, Trustee Chairman, Beaumont Newhall, Curator. -
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. -
The Integrity of the Image
world press photo Report THE INTEGRITY OF THE IMAGE Current practices and accepted standards relating to the manipulation of still images in photojournalism and documentary photography A World Press Photo Research Project By Dr David Campbell November 2014 Published by the World Press Photo Academy Contents Executive Summary 2 8 Detecting Manipulation 14 1 Introduction 3 9 Verification 16 2 Methodology 4 10 Conclusion 18 3 Meaning of Manipulation 5 Appendix I: Research Questions 19 4 History of Manipulation 6 Appendix II: Resources: Formal Statements on Photographic Manipulation 19 5 Impact of Digital Revolution 7 About the Author 20 6 Accepted Standards and Current Practices 10 About World Press Photo 20 7 Grey Area of Processing 12 world press photo 1 | The Integrity of the Image – David Campbell/World Press Photo Executive Summary 1 The World Press Photo research project on “The Integrity of the 6 What constitutes a “minor” versus an “excessive” change is necessarily Image” was commissioned in June 2014 in order to assess what current interpretative. Respondents say that judgment is on a case-by-case basis, practice and accepted standards relating to the manipulation of still and suggest that there will never be a clear line demarcating these concepts. images in photojournalism and documentary photography are world- wide. 7 We are now in an era of computational photography, where most cameras capture data rather than images. This means that there is no 2 The research is based on a survey of 45 industry professionals from original image, and that all images require processing to exist. 15 countries, conducted using both semi-structured personal interviews and email correspondence, and supplemented with secondary research of online and library resources. -
The History of Photography: the Research Library of the Mack Lee
THE HISTORY OF PHOTOGRAPHY The Research Library of the Mack Lee Gallery 2,633 titles in circa 3,140 volumes Lee Gallery Photography Research Library Comprising over 3,100 volumes of monographs, exhibition catalogues and periodicals, the Lee Gallery Photography Research Library provides an overview of the history of photography, with a focus on the nineteenth century, in particular on the first three decades after the invention photography. Strengths of the Lee Library include American, British, and French photography and photographers. The publications on French 19th- century material (numbering well over 100), include many uncommon specialized catalogues from French regional museums and galleries, on the major photographers of the time, such as Eugène Atget, Daguerre, Gustave Le Gray, Charles Marville, Félix Nadar, Charles Nègre, and others. In addition, it is noteworthy that the library includes many small exhibition catalogues, which are often the only publication on specific photographers’ work, providing invaluable research material. The major developments and evolutions in the history of photography are covered, including numerous titles on the pioneers of photography and photographic processes such as daguerreotypes, calotypes, and the invention of negative-positive photography. The Lee Gallery Library has great depth in the Pictorialist Photography aesthetic movement, the Photo- Secession and the circle of Alfred Stieglitz, as evidenced by the numerous titles on American photography of the early 20th-century. This is supplemented by concentrations of books on the photography of the American Civil War and the exploration of the American West. Photojournalism is also well represented, from war documentary to Farm Security Administration and LIFE photography. -
Companies Inside the Program
Patented LaserSoft calibration: The target is compared with a reference file companies inside the program. LaserSoft Imaging AG, Kiel Karl-Heinz Zahorsky set the early standards in the development of scanner software and even today, the founder of LaserSoft Imaging programs individual features himself. In the Düsternbrook district of Kiel, close to Schleswig-Holstein’s parliament building, work For 20 years LaserSoft Imaging, is going on to shape the future. This quiet street in an exclusive residential area of Kiel is where La- a Kiel-based company, has been serSoft Imaging has its HQ. This small company’s developing imaging software for customers include many of the great names in the scanner, printer and photographic industries: the global market. Even today, the Canon, Epson, Nikon, HP and Samsung. Their equipment is supplied with software from Kiel. visionary company founder Karl- SilverFast is the program scanners use for precise, true-colour digitisation of images. Around the Heinz Zahorsky still programs world more than 1.5 million users scan their pic- some of the features of successful tures with SilverFast. products that ensure supreme In December 2006, LaserSoft Imaging launched The house SilverFast 6.5, the latest version of its classic soft- colour quality in the machines of ware tool. It was extremely well received. 15,000 upgrades were sold in the first month after the prominent manufacturers. launch. “We are the only developer who can supply high-end scanning software for all the well-known to run smoothly on top-quality machines whether scanners working with the MacOS, Windows they are new or old (Linotype-Hell/Heidelberg). -
9 Scanners (526-549)
Section9 PHOTO - VIDEO - PRO AUDIO SCANNERS Pacific Image ...................................528-529 Hasselblad.........................................530-531 Nikon....................................................532-533 LaserSoft Imaging..................................534 Canon.............................................................535 Epson....................................................536-541 HP...........................................................542-543 Microtek .............................................544-549 Obtaining information and ordering from B&H is quick and easy. When you call us, just punch in the corresponding Quick Dial number anytime during our welcome message. The Quick Dial code then directs you to the specific professional sales associates in our order department. For Section 9, Scanners, use Quick Dial #: 63 528 SCANNERS PACIFIC IMAGE PRIMEFILM PF3600U • PRIMEFILM PF3650U 3600 dpi 35mm Film Scanners Affordable film scanners designed for amateur photographers, web designers, PC enthusiasts and graphics designers, the PrimeFilm PF3600U and PF3650U have a unique combination of high resolution, natural color reproduction and high scanning speed. They digitize 35mm slides and filmstrips with true 48-bit scanning capability distinguishing 68.7 billion distinctive colors and capture up to 18 megapixels per image (5328 x 3444 pixels). This results in impressive shadow and highlight details, preserving every photographic detail with incredible accuracy. Even while providing such high image quality, the PrimeFilm PF3600U and PF3650U are still very simple to use - just insert your filmstrips or mounted slides into the proprietary 35mm viewing window, and you are ready to scan, with one button push. Furthermore, the easy-to-use TWAIN-compliant Cyberview X driver offering many diverse levels of custom controls will be appreciated by both novices and experienced users alike. Above all, the PrimeFilm 3600U 3650U are fast - taking only 65 and 85 seconds, respectively, to give you a true 3600 dpi resolution scan. -
Managing Your Digital Camera's RAW Files
News Volume II RAW files are generally maker/model specific and a few have started to gain visibility as formats, such as Nikon's 'NEF' and Canon's 'CRW', Kodak 'DCR', etc. The term 'raw' is used in essence, to take the exact output of the camera CMOS/CCD device and store it unaltered - usually in a format Managing Your Digital based on the TIFF format. Being un- altered, this format has some populari- Camera’s RAW Files ty as it is effectively a digital negative. RAW is simply pixel data as it comes directly off the CMOS/CCD, no in-ca- mera processing is performed. Typi- cally this data is 8, 10 or 12 bits per pixel. The advantage being that file sizes are considerably smaller than an equivalent TIFF file. The image has not been processed or white ba- It’s a JPEG world, the most common image format used these lanced which means you can correct the image, and it's a days with digital cameras. It is an acronym for Joint Photo- better representation of the "digital negative" captured. The graphic Experts Group (JPEG). A lot of cameras shoot them. disadvantage is you can't open these image files with a nor- Dozens of professional software packages support them. mal photo package. The main advantage of a 12-bit per pixel Heck, your Grandfather probably knows what they are. data is when you might need to make some major correc- tions to the white balance, exposure, and color. During the Not so for the RAW format-the uncompressed, unprocessed processing of an image, you lose bits of image data due to data file captured by the camera. -
The History of Photography and the Camera
The History of Photography and the Camera: From Pinhole to SmartPhones Whether you're hanging out with friends on the beach or reading about the history of the 1930s, photography will likely make an appearance. The oldest known photograph dates back to 1826, but the structure that would become the first camera was described by Aristotle. The process of taking pictures has become increasingly refined during the 19th century, transitioning from heavy glass plates to light, gelatin-coated flexible film. Today, once-innovative film cameras take a back seat to the convenience and ease of digital cameras. Pinhole Cameras and Photography The pinhole camera (also known as a camera obscura) was first envisioned around the 5th century BCE. The camera obscura was a box with a small hole in it, through which light (and the image carried by it) would travel and reflect against a mirror. The camera obscura was originally used to observe solar events and to aid in drawing architecture, though it became something entirely new in 1800. A young man named Thomas Wedgwood attempted to capture the image portrayed in a camera obscura with silver nitrate, which is light-sensitive. Unfortunately, the images didn't hold, and it wasn't until the French inventor Joseph Niépce attempted the same feat with bitumen (a kind of tar) that the first photograph was produced. Lensless Photography: The Art of the Pinhole Single Hole Pinhole Camera History and Geometry of the Pinhole Camera (PDF) A Prehistory of Photography Historic Photographic Processes History and Evolution of Photography (PDF) Make Your Own Pinhole Camera Louis Daguerre and Modern Photography 1 Niépce, keen to refine his newly-discovered process for taking pictures, partnered up with artist and designer Louis Daguerre. -
THE HISTORY of PHOTOGRAPHY, from 1839
he Museum of Modern Art PUBLICATION DATE: West 53 Street, New York, N.Y. 10019 Circle 5-8900 Cable: Modernart Friday, November 6, 196^ XHEHISTORY OP PHOTOGRAPHY: FROM I839 TO THE PRESENT DAY by Beaumont Newhall. 212 pages, 210 illustrations; hardbound $12.50. Published by The Museum of Modern Art io collaboration with the George Eastman House, Rochester, N.Y.; distributed by Twihledav and Co., Inc. THE HISTORY OF PHOTOGRAPHY: FROM I839 TO THE PRESENT DAY by Beaumont Newhall will be published by The Museum of Modern Art, New York, in collaboration with the George Eastman House, Rochester, on November 6. Completely revised and expanded throughout, this new fourth edition of an established classic contains 210 illustrations, 100 of them new to the book, 38 of which have never been published before, including a num ber by such masters as Talbot, Lewis Carroll, Stieglitz and Weston. Beaumont Newhall, Director of the George Eastman House, traces the concept of photography back to the pioneer inventors Nigpce, Daguerre and Talbot and then care fully delineates the changing ways in which photographers have continuously sought to interpret the world about them. He documents the ways early photographers fed the nineteenth century desire to see people and places exactly as they were: daguerreotypists took portraits of famous men; adventurous photographers strayed far from home to penetrate Egypt, China and Japan; others, using equipment that required on-the-spot developing, recorded the Crimean War and the American Civil War. While defining the history of the medium, Mr. Newhall also provides a lucid explanation of the technical advances that have affected the development of that medium. -
CHAPTER '.'F Beforedigitalimaging,The History Of
CHAPTER '.'f Beforedigitalimaging, the history of photography was one of gradual im- provements. The slow evolution of film, cameras, darkroom materials, andprintingtechnologies produced improvements in image quality, ease ofuse,reliability,and consistency in mass reproduction. Then in the 1980s, digitalimaging suddenly began to revolutionize photography. Now, even casualsnapshooters can take advantage of digital technology. Therearemanyadvantages to digital imaging. Digitizing an image (con- vertingit to a numerical form that a computer can manipulate) lets you makechangesthat are often difficult and tedious to do by conventional means.Youcan dodge, burn, crop, color, combine, and alter photographs indozensof different ways. Images are stored as electronic data, so a databasecan store, index, search, and quickly retrieve images. Unlike film andprints,digital images can be duplicated without any loss of quality; a filethathas been copied repeatedly can be identical to the original. You canuseordinary telephone lines to send a digital image around the world, insomecases,you can send the image faster than you can carry a print totheoffice next door. If you want to sell your work or seek clients to hire you,you can place your best images in an online Web gallery. Somecosts accompany all the advantages. There is a time investment in learning how to use the equipment and software. There is also a fi- nancialinvestment: the better the image quality desired, the more that equipment,software, or services (such as a print made at a service cen- ter)maycost. However, most users feel the investment is worth the cost be- causedigital imaging lets you record more of what you see and achieve moreof what you can imagine.