Memory Emphasizing Digital Camera

Total Page:16

File Type:pdf, Size:1020Kb

Memory Emphasizing Digital Camera Rochester Institute of Technology RIT Scholar Works Theses 7-27-2016 Memory Emphasizing Digital Camera Jae Ho Seo Follow this and additional works at: https://scholarworks.rit.edu/theses Recommended Citation Seo, Jae Ho, "Memory Emphasizing Digital Camera" (2016). Thesis. Rochester Institute of Technology. Accessed from This Thesis is brought to you for free and open access by RIT Scholar Works. It has been accepted for inclusion in Theses by an authorized administrator of RIT Scholar Works. For more information, please contact [email protected]. Memory Emphasizing Digital Camera Jae Ho Seo Thesis Master of Fine Arts in Industrial Design School of Design College of Imaging Arts and Sciences Rochester Institute of Technology Rochester, NY JULY 27, 2016 MEMORY EMPHASIZING DIGITAL CAMERA INDUSTRIAL DESIGN J.SEO Approvals Stan Rickel, Advisor Associate Professor, Graduate Coordinator, Industrial Design Email: [email protected] Signature: __________________________________________________________________ Date: __________________ Alan Reddig, Committee Member Senior Lecturer, Industrial Design Email: [email protected] Signature: __________________________________________________________________ Date: __________________ Alex Lobos, Committee Member Associate Professor, Industrial Design Email: [email protected] Signature: __________________________________________________________________ Date: __________________ Shaun Foster, Committee Member Associate Professor, 3D Digital Design Email: [email protected] Signature: __________________________________________________________________ Date: __________________ 1 MEMORY EMPHASIZING DIGITAL CAMERA INDUSTRIAL DESIGN J.SEO Table of Contents APPROVALS............................................................................................................................... 1 ACKNOWLEDGMENT .............................................................................................................. 4 ABSTRACT.................................................................................................................................. 5 INTRODUCTION ....................................................................................................................... 6 1. WHY MEMORY?......................................................................................................................................6 2. WHY A CAMERA? ...................................................................................................................................7 RESEARCH I - ABOUT CAMERA............................................................................................ 8 1. HISTORY OF THE CAMERA....................................................................................................................8 1-1. Before the 35mm film camera.................................................................................................8 1-2. After the 35mm film camera (portable size camera) ................................................ 12 1-3. Digital Era..................................................................................................................................... 15 1-4. Summary........................................................................................................................................ 17 2. THE CULTURE OF THE CAMERA....................................................................................................... 19 2-1. Street Photography................................................................................................................... 19 2-2. Hybrid Photography: Vintage manual lens + Digital camera............................... 21 3. THE LIFE EXPECTANCY OF THE DIGITAL CAMERA....................................................................... 24 RESEARCH II - THE MEANING OF MEMORY AND THINGS.........................................26 1. THE MEANING OF MEMORY ............................................................................................................. 26 2. THE INTERRELATEDNESS OF EXPERIENCE AND MEMORY.......................................................... 28 3. THE MEANING OF OBJECTS .............................................................................................................. 30 4. FLOW .................................................................................................................................................... 32 5. TACTILE QUALITY............................................................................................................................... 34 RESEARCH III -EMPHASIZING MEMORY........................................................................36 1. WABI-SABI .......................................................................................................................................... 36 2. THREE DIFFERENT LEVELS OF DESIGN ........................................................................................... 39 SOLUTION ................................................................................................................................41 2 MEMORY EMPHASIZING DIGITAL CAMERA INDUSTRIAL DESIGN J.SEO 1. DIRECTION........................................................................................................................................... 41 1-1. Summary of Research............................................................................................................... 41 1-2. Design Language for Appearance....................................................................................... 42 1-3. Target User: Enthusiast........................................................................................................... 43 2. EARLY CONCEPT ................................................................................................................................. 44 2-1. Concept 1: Over-sized Control Dials: Maximizing Tactile Experience ................ 44 2-2. Concept 2: Basic Geometry Shapes..................................................................................... 46 2-3. Concept 3: Folding Camera Options................................................................................... 47 3. FINAL DESIGN ..................................................................................................................................... 50 3-1. Longevity: Module Construction.......................................................................................... 52 3-2. Manual Control ........................................................................................................................... 54 3-3. Reflective Design: Aging / Service ...................................................................................... 57 CONCLUSION ...........................................................................................................................59 EXHIBITION.............................................................................................................................61 CITATION .................................................................................................................................62 BIBLIOGRAPHY......................................................................................................................................... 62 REFERENCE IMAGE ................................................................................................................................. 65 3 MEMORY EMPHASIZING DIGITAL CAMERA INDUSTRIAL DESIGN J.SEO Acknowledgment Without my parents’ support, studying Industrial Design MFA at the Rochester Institute of Technology would have never been possible. Without the support and encouragement from my lovely family (Ahra, Noah, and our new baby), I would not have had enough energy to move forward. Without respectable knowledge and guidelines from committee members, a mother-in-law, and many other friends, this study would have never been completed. I appreciate all of your support and help. 4 MEMORY EMPHASIZING DIGITAL CAMERA INDUSTRIAL DESIGN J.SEO Abstract This thesis is focused on how users can emphasize the value of personal memories when they use cameras. The design of the camera has barely changed over hundreds of years of history. In the current market, most companies are focused on functionalities, such as: better quality images, faster processors, and safer storage. However, the basic rectangular form factor, the round lens, and the layout of control knobs and buttons are essentially the same amongst the different companies. Similar to auto design, camera design has changed minimally in its outer shape with slightly advanced inner components. It is important to understand that one of the main purposes of using a camera is to capture one’s memories. Although enhanced picture quality and a faster processor can provide better outcomes than those from an inexpensive point-and-shoot camera, they do not increase the value of one’s personal memories. This thesis asserts that not only do the pictures produced become memories, but the camera itself and the interaction with it also become memories of their own. 5 MEMORY EMPHASIZING DIGITAL CAMERA INDUSTRIAL DESIGN J.SEO Introduction 1. Why memory? If asked, “What would you bring with you if your house was on fire?” One might think of photo albums, gifts from others, letters, or other items of sentimental value. This is because those items are strong mementos, which hold valuable memories, and they themselves have
Recommended publications
  • Still Photography
    Still Photography Soumik Mitra, Published by - Jharkhand Rai University Subject: STILL PHOTOGRAPHY Credits: 4 SYLLABUS Introduction to Photography Beginning of Photography; People who shaped up Photography. Camera; Lenses & Accessories - I What a Camera; Types of Camera; TLR; APS & Digital Cameras; Single-Lens Reflex Cameras. Camera; Lenses & Accessories - II Photographic Lenses; Using Different Lenses; Filters. Exposure & Light Understanding Exposure; Exposure in Practical Use. Photogram Introduction; Making Photogram. Darkroom Practice Introduction to Basic Printing; Photographic Papers; Chemicals for Printing. Suggested Readings: 1. Still Photography: the Problematic Model, Lew Thomas, Peter D'Agostino, NFS Press. 2. Images of Information: Still Photography in the Social Sciences, Jon Wagner, 3. Photographic Tools for Teachers: Still Photography, Roy A. Frye. Introduction to Photography STILL PHOTOGRAPHY Course Descriptions The department of Photography at the IFT offers a provocative and experimental curriculum in the setting of a large, diversified university. As one of the pioneers programs of graduate and undergraduate study in photography in the India , we aim at providing the best to our students to help them relate practical studies in art & craft in professional context. The Photography program combines the teaching of craft, history, and contemporary ideas with the critical examination of conventional forms of art making. The curriculum at IFT is designed to give students the technical training and aesthetic awareness to develop a strong individual expression as an artist. The faculty represents a broad range of interests and aesthetics, with course offerings often reflecting their individual passions and concerns. In this fundamental course, students will identify basic photographic tools and their intended purposes, including the proper use of various camera systems, light meters and film selection.
    [Show full text]
  • Film Camera That Is Recommended by Photographers
    Film Camera That Is Recommended By Photographers Filibusterous and natural-born Ollie fences while sputtering Mic homes her inspirers deformedly and flume anteriorly. Unexpurgated and untilled Ulysses rejigs his cannonball shaming whittles evenings. Karel lords self-confidently. Gear for you need repairing and that film camera is photographers use our links or a quest for themselves in even with Film still recommend anker as selections and by almost immediately if you. Want to simulate sunrise or sponsored content like walking into a punch in active facebook through any idea to that camera directly to use film? This error could family be caused by uploads being disabled within your php. If your phone cameras take away in film photographers. Informational statements regarding terms of film camera that is recommended by photographers? These things from the cost of equipment, recommend anker as true software gizmos are. For the size of film for street photography life is a mobile photography again later models are the film camera that is photographers stick to. Bag check fees can add staff quickly through long international flights, and the trek on entire body from carrying around heavy gear could make some break down trip. Depending on your goals, this concern make digitizing your analog shots and submitting them my stock photography worthwhile. If array passed by making instant film? Squashing ever more pixels on end a sensor makes for technical problems and, in come case, it may not finally the point. This sounds of the rolls royce of london in a film camera that is by a wide range not make photographs around food, you agree to.
    [Show full text]
  • Street Photography 101
    STREET PHOTOGRAPHY 101 ERIC KIM INTRODUCTION This book is the distillation of knowledge I have There are no “rights” and “wrongs” in street pho- learned about street photography during the tography– there is only the way you perceive past 8 years. I want this book to be a basic street photography and the world. primer and introduction to street photography. If Cheers, you’re new to street photography (or want some new ideas) this is a great starting point. Eric Everything in this book is just my opinion on Feb, 2015 / Oakland street photography, and I am certainly not the foremost expert on street photography. However I can safely say that I am insanely passionate and enthusiastic about street photography– and have dedicated my life to studying it and teach- ing it to others. Take everything in this book with a pinch of salt, and don’t take my word for granted. Try out tech- niques for yourself; some of these approaches may (and may not) work for you. Ultimately you want to pursue your own inner-vision of street photography. i 1 WHAT IS “STREET PHOTOGRAPHY”? Dear friend, Welcome to “Street Photography 101.” I will be your “professor” for your course (you can just call me Eric). If you’re reading this book– you’re probably interested in street photography. But before we talk about how to shoot street photography– we must talk about what street photogra- phy is (or how to “define” it). Personally I hate definitions. I think that definitions close our minds to possibilities– and every “defini- tion” is ultimately one “expert’s” opinion on a topic.
    [Show full text]
  • Street Photography Project Guide
    The Street Photography Project Manual by Eric Kim When I first started shooting street photography, I was very much focused on “single images”. Meaning– I wanted to make these beautiful images (like pearls) that would get a lot of favorites/likes on social media. I wanted each photograph to be perfect, and stand on its own. However after a while shooting these single-images became a bit boring. I felt photography became a way for me to produce “one-hit-wonders” – which didn’t have that much meaning, soul, and personal significance. In trying to find more “meaning” in my photography– I started to study photography books, learning from the masters, and how they were able to craft stories that had a narrative and personal significance. Soon I discovered that I was much more interested in pursuing photography projects– projects that would often take a long time (several years), would require meticulous editing (choosing images) and sequencing, and were personal to me. I wanted to create this book to be a starting guide and a primer in terms of starting your own street photography project. I will try to make this as comprehensive as possible, while still being practical. Here is an overview of some of the chapters I will like to cover: Chapter 1: Why pursue a street photography project? Chapter 2: What makes a great photography project? Chapter 3: How to come up with a street photography project idea? Chapter 4: How to stay motivated when pursuing your photography project Chapter 5: How to edit/sequence your photography project Chapter 6: How to publish your photography project Chapter 7: Conclusion Chapter 1: Why pursue a photography project? Of course we are dealing with street photography– but there are many different reasons to pursue a photography project in general: Reason 1: Photography projects are more personal First of all, one of the main reasons you should pursue a photography project is that you can make it more personal.
    [Show full text]
  • Photography and Communication: a Study of Interrelationship
    International Journal of English Learning and Teaching Skills; Vol. 1, No. 3; ISSN : 2639-7412 (Print) ISSN : 2638-5546 (Online) PHOTOGRAPHY AND COMMUNICATION: A STUDY OF INTERRELATIONSHIP Debashish Ghosh Scientific Officer, Department of Electrical Engineering, Aruni Maji, Debapriya Palai B.Tech,Forth year, Department of Electrical Engineering, Niloy Chakravorty B.Tech,Second year, Department of Electronics & Communication Engineering, Institute of Engineering & Management, Kolkata Abstract: Photography has arguably become one of the most potent instruments of communication for a contemporary artist. Its versatility, suggested truthfulness and the way in which artists distort or interpret ''reality'' has been a part of photography since the advent of the daguerreotype in 1839. Taking photographs today are no longer primarily an act of memory intended to safeguard a family's pictorial heritage, but is increasingly becoming a tool for an individual's identity formation and communication. Digital cameras, camera-phones, photo-blogs and other multipurpose devices are used to promote the use of images as the preferred idiom of a new generation of users. The aim of this article is to explore how photography has developed through time in itself and at the same time went on reshaping ideas of communication. Photography has touched and influenced almost all the major aspects of communication; the conclusion calls for a broader consideration of the links between the history of photography and media. Keywords: Photography, Media, Communication, Culture, Art history. Introduction: “The first thing to observe about the world of the 1780s is that it was at once much smaller and much larger than ours. It was smaller geographically …Yet if the world was in many respects smaller, the sheer difficulty or uncertainty of communications made it in practice much vaster than it is today.” This is how eminent Marxist historian Eric Hobsbawm starts the first pages of his seminal work on world history in four volumes.
    [Show full text]
  • SELECTED PHOTOGRAPHS from Brassaï to Cindy Sherman from Brassaï to Cindy Sherman
    T +49 (0)30 - 211 54 61 | F +49 (0)30 - 218 11 97 |[email protected] 97 54 |F+49T +49 61 (0)30 11 (0)30 -218 -211 |www.kunsthandel-maass.de Kunsthandel Jörg Maaß |Rankestraße Berlin |10789 24 Kunsthandel Jörg Maaß SELECTED PHOTOGRAPHS From Brassaï to Cindy Sherman · 2009 SELECTED PHOTOGRAPHS From Brassaï to Cindy Sherman Cindy Brassaïto From 2 SELECTED PHOTOGRAPHS From Brassaï to Cindy Sherman 2 FROM BRASSAÏ TO CINDY SHERMAN 22 selected photographs For a number of years we have been gathering together a took Europe by storm between the two world wars, displaying collection of photographs which has evolved into a substantial infl uences from the Bauhaus, Surrealism and Neue Sachlichkeit group, but has never been shown publicly. A selection of which (New Objectivity) movements. Some examples of artists who we would now like to present in this catalog and exhibition. Our were proponents of the Neues Sehen or New Vision Photography intentions are to pro vide a wide and representative cross section are reproduced in our catalog. of our inventory, begin ning in the late 1920s and continuing up to the present day. We focus on American and European After the Second World War, the center of modern art moved photo graphy; black and white, as well as color. We have chosen from Europe to the United States, where photography had been works – in addition to the signifi cance of the individual artists – developing in a different direction. In the States, photography according to certain central themes: the nude, land scapes, por - was less dependent on the fi ne arts and can be seen as a per- traits and architecture, to name the most prominent.
    [Show full text]
  • Seven Photographers Who Are Rewriting Street Photography's
    Seven Photographers Who Are Rewriting Street Photography's Rigid Rules These photographers are finding new ways of making pictures in public space: some staged, some digitally altered, all with uninhibited grit. Jon Feinstein In the nearly two centuries since Daguerre's classic 1838 Parisian street scene, exposed for several minutes, miraculously capturing two men who stayed still long enough to show up on the negative, attitudes towards street photography, photographing in public, and the possibility of the medium—digital or not—to achieve any sense of objective truth have changed continuously. And the debates have been contentious. For years, many traditionalists treated the genre with a rigid sense of rules prescribed by street-photo-godfather Henri Cartier-Bresson. No double exposures, no printing techniques that might obscure the original content on the negative, no cropping that could change what was captured. Some insisted on including the edges of the negative on their prints as “proof” that the original photo had not been altered. And then Photoshop and digital photography opened up a whole new can of worms. The following seven photographers mark street photographyʼs many contemporary directions and its ability to stay varied and continue to grow beyond the strictures of its most traditional tyrants. Some use digital tools to reform how we understand public spaces, others create varying degrees of staged interference, while still others let it all happen naturally, topped off with the raw power of a flash. Most of these photographers are sharing work daily on Instagram—I encourage you to keep up with their work. Field Hockey Game, Boston University Highline, 2013.
    [Show full text]
  • Three Phases of Change and Persistence in the Camera Industry
    G Model RESPOL-3332; No. of Pages 12 ARTICLE IN PRESS Research Policy xxx (2016) xxx–xxx Contents lists available at ScienceDirect Research Policy journal homepage: www.elsevier.com/locate/respol Innovation and recurring shifts in industrial leadership: Three phases ଝ of change and persistence in the camera industry a b,∗ Hyo Kang , Jaeyong Song a Haas School of Business, University of California, 2220 Piedmont Avenue, Berkeley, CA 94720, USA b Graduate School of Business, Seoul National University, 1 Gwanak-ro, Gwanak-gu, Seoul 151-916, Korea a r t i c l e i n f o a b s t r a c t Article history: This study examines factors underlying three phases of change or persistence in industrial leadership Received 31 October 2013 in the sector of interchangeable-lens cameras over the past century. During this period there were two Received in revised form 31 August 2015 major phases of leadership change, both associated with the emergence of innovations involving major Accepted 2 January 2016 discontinuities in the industry’s core technologies. First, Japan won market leadership from Germany in Available online xxx the mid-1960s after commercializing the single-lens reflex (SLR) camera that replaced the previously dominant German rangefinder camera. Second, in the late-2000s, Japanese latecomer firms and a Korean JEL: firm developed Mirrorless cameras, which allowed them to capture the majority of market share from the N70 L63 incumbent Japanese leaders. We also examine the long period (about 60 years) between these two phases O33 of change, during which leading Japanese firms were able to sustain their market leadership despite the digital revolution from the 1980s to 1990s.
    [Show full text]
  • Innovation and Recurring Shifts in Industrial Leadership: Three Phases of Change and Persistence in the Camera Industry*
    Innovation and Recurring Shifts in Industrial Leadership: Three Phases of Change and Persistence in the Camera Industry* Hyo Kang† Jaeyong Song‡ Forthcoming in Research Policy 46(2), 2017 Abstract This study examines factors underlying three phases of change/persistence in industrial leadership in the segment of interchangeable-lens cameras over the past century. During this period there were two major phases of leadership change, both associated with the emergence of innovations involving major discontinuities in the industry’s core technologies. First, Japan won market leadership from Germany in the mid-1960s after commercializing the single-lens reflex (SLR) camera that replaced the previously dominant German rangefinder camera. Second, in the late-2000s, Japanese latecomer firms and a Korean firm developed Mirrorless cameras, which allowed them to capture the majority of market shares from the incumbent Japanese leaders. We also examine the long period (about 60 years) between these two phases of change, during which leading Japanese firms were able to sustain their market leadership despite the digital revolution from the 1980s to 1990s. This paper explores the factors influencing these contrasting experiences of change and persistence in industry leadership. The analysis integrates several aspects of sectoral innovation systems – i.e., windows of opportunity associated with technology, demand, and institution – as well as the strategies of incumbents and latecomer firms. The conclusions highlight the complex and diverse combinations and importance of the factors that help explain the patterns of leadership shift. Keywords: catch-up cycle; industrial leadership; innovation; interchangeable-lens camera JEL: N70, L63, O33 * This research has been supported by the Center for Global Business and Research, Seoul National University.
    [Show full text]
  • The Development and Growth of British Photographic Manufacturing and Retailing 1839-1914
    The development and growth of British photographic manufacturing and retailing 1839-1914 Michael Pritchard Submitted for the degree of Doctor of Philosophy Department of Imaging and Communication Design Faculty of Art and Design De Montfort University Leicester, UK March 2010 Abstract This study presents a new perspective on British photography through an examination of the manufacturing and retailing of photographic equipment and sensitised materials between 1839 and 1914. This is contextualised around the demand for photography from studio photographers, amateurs and the snapshotter. It notes that an understanding of the photographic image cannot be achieved without this as it directly affected how, why and by whom photographs were made. Individual chapters examine how the manufacturing and retailing of photographic goods was initiated by philosophical instrument makers, opticians and chemists from 1839 to the early 1850s; the growth of specialised photographic manufacturers and retailers; and the dramatic expansion in their number in response to the demands of a mass market for photography from the late1870s. The research discusses the role of technological change within photography and the size of the market. It identifies the late 1880s to early 1900s as the key period when new methods of marketing and retailing photographic goods were introduced to target growing numbers of snapshotters. Particular attention is paid to the role of Kodak in Britain from 1885 as a manufacturer and retailer. A substantial body of newly discovered data is presented in a chronological narrative. In the absence of any substantive prior work this thesis adopts an empirical approach firmly rooted in the photographic periodicals and primary sources of the period.
    [Show full text]
  • Photography 101 Eric Kim a Gift to You
    PHOTOGRAPHY 101 ERIC KIM A GIFT TO YOU Dear friend, I wanted to write you this book on how to take better photos. I know you started off with your iPhone, and started to show keen interest on making better images. I taught you the “rule of thirds” and other basics; but now it is time for you to take your photography to the next level. So consider this a handbook or a manual of sorts; for you only. I am also writing this book in hope that other people (similar to you, still relatively new in photography and wanting to learn more) will find it helpful as well. Always, Eric Dec 5, 2015 i 1 PHOTOGRAPHY EQUIPMENT WHAT CAMERA SHOUD I BUY? I wanted to have more manual controls. I wanted to do things like control my shutter speed, and also aperture (which is how much light the lens allows in, which also controls “depth-of-field”— which To start off, one of the first things on your mind is probably “what is how blurry the background is when you shoot (also called camera should I buy?” “bokeh”). Let me be honest with you— I regret spending so much time, effort, At the time, Flickr was still relatively new, Instagram wasn’t around, (and especially money) on all the gear and cameras and lenses I ac- Facebook was still in its infancy. The only way to share photos was cumulated over the years. They call it “Gear Acquisition Syndrome” either Flickr, photography forums (I was part of the “Black and White (G.A.S.
    [Show full text]
  • Introduction to Single Lens Reflex Cameras
    Introduction to SLR Cameras by Mr. KUMON : 01 Page 1 of 13 - Introduction to Single Lens Reflex Cameras - Part 1 : What is an SLR camera ? Though SLR cameras are common around the world, they have a rather prestigious image — they are perceived as "high-class" and thought to be used by only professional photographers. The reasons for these presumptions, however, are not widely understood. Let's discuss the logic of this reasoning by examining the history of photography and the mechanisms of cameras. And you can tell how convenient today's photography system are by comparing it to a pinhole picture taken with an SLR camera. Written by KUMON, Yasushi 1. A Brief History of Photography 1.1. Camera Obscura / 1.2. Heliography and Daguerreo-type 2. Exploring Your Camera ! 2.1. Observing the Focused Image / 2.2. Observing the image appearing on the film surface inside camera / 2.3. Taking Pin-Hole Pictures Using an SLR Camera file://C:\Documents and Settings\kheeyong_yeap\My Documents\yeap old ... 21-Apr-11 Introduction to SLR Cameras by Mr. KUMON : 01 Page 2 of 13 3. What is an SLR Camera ? 1. A Brief History of Photography 1.1. Camera Obscura The word "camera" is derived from the Latin "camera obscura." In Latin, "camera" means "room", and "obscura" means "dark." "Photo 0" illustrates the principle of camera obscura. Light enters a darkened room through a small hole, and the image of an object outside the room appears on the wall opposite the hole. This is the same principle at work in so-called pin-hole cameras.
    [Show full text]