Digital Image Production

7/17/2019 Digital Image Production

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P RODU TIO

The first

magazine

far

creatlves In

the

Middle Ea

st

EST BLISHING

THE BEST

CREATIVE

HOUSE u ~

Vide<;>

&

Graphic

Destgn

Tutorials

Showcases

Issue 03 July - Aug 9

25AED

. 2 KD

INFORM TION EDUC TION FROM THE MIDDLE

E ST

FOR THE MIDDLE

E ST





If you have a yearmns. to

tckt

ym:r

photograp

hy

to

another

level.

st<Ft

here.

Whether you

ar-e newly

'apL

by

the

ima

ge

document (v11tuat ,me

physical) or

your

rJddiction

lrrJs beer1

lingering,

you

ar·e positively

a parl of

the

tecto

nic dcvc:·lopmerlts

occurring

m

this

field.

I

rnrJge Production hrJs

gone

through a

whole

host of changes cllld

rnovernen ts. These tra:1sformaticms

arc

creating

r

new

r rc:hitecture

fer

the field

of

photog

raphy.

Tht> first

photogtaphk fma:p,c

in

tentiona

lly

produced required an eight·hour exposure

timeinbrightsunlight aOOaccess Lospecia ized

tools and materials, which

'Y>'CI'<'

available to

only 1

prfvlteged

few. Techndogje,; tooay

rttlow

for

;; muttl·surfnce approach

to

the

pfoduct

i

on

ot

he.>

rrnagc. rc-apptop 'ia

ti

ng

the

spiritof

Mventute

that

once- betooee<l

only to

;;n.; og,ue

photo-production.

A photowapher tan bceln with something

nAd

nothing.

Your

tools are ns complex or

as simple as you make

CK

want them

to

be

.

An exquis.lte r m a ~ n be

p ~ e d

u s l ~ i

biscuit tin or h f g h · r ~ s . £isapixel digiti

equipment.

This

is a democratization of

the image itself.

With

lhis in

mi

nd

,

when it

comes

to

i t n . l ~

production, your timitati0f'6

are those that you set f yourself.

Defining

lhe lm:Jee

liSe\

f. The frame (Still or

moving• is a place where you can invite the

vk:wm to inhabit real space and a multitude

of autonornous

spaces

that

are

n

O{

~ b j e c t

to the laws of

the

real but are still strongly

rctatcd to

it.

The fr'amcd 'sctccn· knits

toge-ther s o r i ~ s time aod

pla.::e

In one

m.;terial posatioo

for

thevie\\-er, Andassoch s

able to invitc anothct lirnc and another place

into the c.'(tcrnal em1ro

nm

ent of the vieWer.

The viewer 1S at ooce frozen 11 1

space and

moving

through time in a trade-off

de

manded

by you, t.

he

prockJa:or'of the image. Rcftccton

t h f ~ remarkable s:lmuh.anelty, becaus.e this ls

where the true Mtureof the mAge tlselflies.

Pre· production:

WM.

t s 'lbur Objective?

Th

ink

about

t he

relational interaction of th work, the

Intended Uset 8nd

the

different :;paces or

in

tended

use. T<tke fnto ac.count

thAt

exte

rnal ,

physical

space is segmented, and subject to

val'ious conslfaints and r'C"StrainLS. Evfdrot

in that sp.;ce <tre the intennlnihng re{(ltion<tl

tines that unify different

ex

ternal spaces. alt

of

which arc regimented by the contemporary

heee-mon\C. power 1'1'\&e:hfnations .

Considcc' Your

Envir'OnmC'nt.

the usc

or

computer'screens l'equtres human fntera<Uons

in external

space

and results in

moYem

enlS

bolh vrrtual and

ma

lcr'ial. fot example. the

3rchllec.ture or a ' \<trtuat gallery' allows the

in

tended

user to waOOer around with few

limitations beyond

thoSC>

set

by

the

pr'od

ucer.

fnctucl

f

ng

consvafnu related to

th usetS

mO\<ements (e.g.

d.K:ki

ni ot t

he

•mouse'I.

User

, Screen, Image. The virwal image has

KNOWHOW

••••••••••••••••••••••••••••••••

Digital lmoge Production

no dimensions

if

it is not accessed, and

yet,

if it is. i l need not h3ve a beginning ex a.n

end

Any dimensaons Will fade awny when

the

intended user is able to mO\ e,

copy,

enlarge or r'Cdocc the scale or lhc

1mag.cs.

Images

may

be

parsed and unparsed If they

are digitaUy forw·arded throogh virtual space

and may conlinoo a til or their own lhrough

time In the space of tne www. The tNtetial

presentnrion

of

the

produced

worl

will

change with

each

passing second

and

wfth

each 1 \CIMQ..Ial p h y ~ t f c c l l envtronmenL

Text

ur

e.

Timt> and

COlour.

The nalurc ol

dfg1t&l

producuon

allows

more lreedom for

the Creanve. lnvemion

Wl1l

not be fnhfbited

by factors such as money. space, control or

censorship fn

the iame way that it may be In

the

physicalwort:d.

There

is immensepotential

for

the

creative assemblage

by

means

of

th

use

of

cotour.

texture and

till'JE'.

>>>

P RODUCTION



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on ':.1.1 I

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Fiauro

RAW fllo o o n w ; o r s t o n ~

It$.))''> on thr•I

PJbl'l.

hnfiQeS l&ken it a high·

rcsd.ution tirem.'lda up of

a

tol of pixels. bul

dtl

not

nr('(('$1>11rlly

have a

bcltct

resotulJOn.

tttt-p

In

m t ~ tht>•l"

t ~ s e n u a l

e t e ~ t . s . like

tht> trosyw

w , Wlll affect

the

actual

quality

of

)'OUr l ' f t 1 ~

CokJur Sp.k:.r-

1M

of aca.r.ue

~ rctk'S

on

'<N1'11Ch SC '55f ~ . ~ S e d .

pr1 0Sit"

whit,.

b.ll.lt'l(t'

the'

ci'IOkt" r:A IOk

al'ld papet"

td

a n t ~ co pnntt and c;orreaty cathranni

produttJO"'dcrvleCI. Themechanical eye

can

.dng

Canon

.crw

.cr1

ne{ .nrw

u

.drf

~ o m e 1 St"'Cor.c.i O b ~

of

'fOAJ' s u b j e c t ~

Most

camcorMWI\l

beset o t ~ s R G 8

(standard

red ;rccn

blue colour space) because

thalu

V ~ d r f i ' u l t fDI lnlel'nt'lulit", computer :;creens

nnd Y ( I r l l i ~

q u ~ l u y

pnnuna.

l.earnina

.1bout

Adobtt RG8 and ~ d o b c Wide Gamut RGB

lll.JY be

morf '

u1elul to yo.,,

as

both

of

the1e

11m

t.lrv,er

colour

c ano WlU E;'nable you

to achtCVl>'

richer cdaurs..

( you want to

brt»CCe1

yoJr ki10Wttdf" and

not

stick

to

me

•

def

a&i.l'mcnn tty,

n '.td

rncJf'e

in

the dobe

Wfllt.Q>

PIPtl

on

c:ou:u

ma ''.lg,emenL

The

' ' -

od\ne$ <""""' · a n d

tall.ft

you

tf'Pbv llt"Pif'ltO t"- '

W \it, vhf

ano

wf'lervof COloUt

t n l l t U ~

Oedsl0111 ~ b o u t colour t.p&Ct" are belter left

to post-product i

on

edttlng

When

it a

~ a s a e r to

eValuate

l m a ~

us.it19

1 hlah quahly sctecn.

Thl.s

Is

onlv

pcmlbl(o IHI'Ic'n

,hOOIInt "'I RAW

format.

AA'YI The AAW

(Otn\.}t a ltNtt. dau wtth no

in-c.amera proclf 'SIInt

Of ~

·t"s

alwayl

best lO

Sl'tOOt 11 1

RIW fati'Nl,

f

you

- '" .l'tG formal your . . _ " av•aoy

processed and

COII'C)IftSC id.

Shoot"'''"

RAW

atlows

for

Vital ed1l1ftl

PQ5t

producbon. ~

an

downi.CMd

4 tn l

RJ. III

ptut·lf' l

frQtfl

www.adobe.com.

AI ICSOluUon oi

10x

megapixels. a

2

GIG SO

card

wtll

store a.t'CI.nd

380

IITlago In

JP(G.

Al

the:

RAW SC tli,. the

same

spiKe will

StOr# III'OUnd

80 I T I ~ , $0 be

prepared

with n o ~ Jl.OniQe if yo

u usa

RAW

.

Shooting In

RAW

gl¥et

yoJ bcller

quality

photographs

becau

I w;u "ttowyou 10 have

more control

oVer

colour

spJace,

saturation.

jradauon,

sharptiC$5 Whttc" balance

a.nd

t.onatvalvtS

1n

P Q ' \ ~ p r o d u t u o n

tdtllne.

RAW

files ate

~

up

ot uncornpresseo aat.a

that

cnabl.r more ~ ftftdorn th.v1 the-

l n y .IPtG

~ I M .

T"""" II no...,

Sln;\efUWformat. t k t w f I N ~ t ~ o n p ' \ i t .

RAW f lo. l w a y s t.l'tr l l " • ~ • l t . ' d mage

dati M a new i ~ .

WOr'kil"' l w1lf\ RJ\ 11 h t ~ ' C 0 J ' ~ a tot or

stora.ee SQa<:e ~ n d h ~ i

ttw>

drawback ot a

slower

workflow.

bul "WO 'lh

lhP.

p . m e n ~ e

for wcato- CI'C3\IVC conllol. Theft' are

Sol 'veret RAW clllt& c.'Onverters to chOOSt"

trom

.

You can find moo:' lnformlltion nbout the

most

common

of

thew

prosra""""s

at www.

phaseooe.com.

www.dxo.com.

YJWW.applf .

com and w w a d o b ~ c o m

By

,_ I

Sl>mv»ory

MP



igital Image

Production·

Get to know your Camera.

As you a r n to e.xpenment md

play with your

camera controls, you vlill progressively see

them ror the inValuable tools

lha

l they arc.

Leave lhe fear

behll'\d,

tel i.O, experiment

and 1

nv

en t

.

The controls

are

not

a bnr

ri

ef';

they Will help yoo to know

what

you can do

and how

roo

W>ll be

abi;, to do it.

l>e

·mysllfy

the controls

by

taking th

em on.

-

3 - - - 1

~ -

-

-

-

II

.....

II

Key Camera Controls:

t t r ~ Expo Ufe . The

shutter

settiog

determines exposer time

X

how much lfihl

you

use

to

'pafnt'yourlmae,e-.

M lheshuner

opens and clcJo.se ,

the

sensor will record

two

things:

all

light and

atl

movement. You will

notice

an

impruvcmr:nt

in

your photographs

if you

try

using longer exposure lime. Th1s

is because ~ O U Wilt

be

able

to

introduce

m ~ n t

and richer colours into

ywr

compos

l tklns. both

of

which are lost whl n

applyingshort exposures.

Depth

o

Field. A

lot of

us are

seduced by

the

digital mediums ability to produce

an

C'XlCflSivc

dcplh

or

field. The visual affect

ot

this

ts

a Rat c o m p o s ~ t i o n , where everyt.hlfli

is crisp and shnrp. Experimenting

with

a

smaller

dCDlh

of fictld

adds

dimcnsionatity and

tnterest

to

yoor Dhot<Y5raphlc. composltloM.

Try

decreasing thedepth

of

field by controlling

aperture, focal

te

ngth a nd magnification.

Think.

about how

hum

am

st.'l' ,

and

try lo pay

atte

ntJon

1.0

what you can

see Wilen you

took at something, the

doseryw

r eyesare to

what

you rc

looking at, the

mOI'e of 1l ls fn

focus.

The

further

you

are fronl

YQUr

subject.

or

what

you

are

loo

ki

ll£ a t , the tess

of

it is

in focus. In

reality,

on\y a

sma.tt fX'rce-nt

or

what we see

t. 'harp

~

in locus.

sour

eyes

mO¥e from

scene to scene t

heyareconstantty

rc·foc

usmg. Don ' t

fol lc

l

that

p(C·ptoduclion

oonskleratlons

of

the Intended sl:re or the

itmge

will

in

fluence the perception

ol the

depth or field

by your

Viewer.

Figure

1 Dig.itat

Image Producti

on

ISO.

Phoc.ograp

h

l f's

Who

orhave used

ftl•n

wtlt be

fllmilii'lr

with the con

cep

t o.f •grain•.

Increased

film

se

nsitivity

wnl

increase

the

graininess

of the final image. k1

di\)i(a\

m ~ g e

PfoclJcUon,

the eq

ulva1ent

of

grain

is

'noise .

Digital noise

is

more complex

and variegated lha.o

film grain. Digital noise

resullS fn random specs tNt I)()

relation

to

the intended photocomposition . Noisecan

be

u

:sc.'d

in

lht>

same way

that grain is

used in

film. Afus,her setlfng

c.-

tower

l ~ e t

count

wnt

incr

ease

digit

al

noise

and

can

be

used

to

gi

IC

the

su

bject

a

' tl\llh·valuc'.

Resolution.

The

first thmg

to be

S3

id nbout

'high resoluti

on·

is

that it s no

t

always

What

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Digital Image Production