IAT 244 WEEK 2
Overview Journal 1 due next week Assignment 1 due in two weeks Image Quality Composition Techniques for photography (part 1)
Journal Assignment Journal 1 due on week 3 1.5 2 pages in length double spaced d 12 pt. Times New Roman font only 3cm or 1 inch margins To show serious engagement and reflection on section 1 of the textbook. Full sentences and paragraph.
Journal Rubric
Assignment 1 Due on week 4 4 images you ve taken since the course started Each exploring a different compositional ii principle explained in class in week 2 and 3.
Image Quality ISO Image size Compression
ISO It comes from the International Organization for Standardization for measuring the speed of film. 100 1600 Slow Low Grain / Noise Lots of light Fast High Grain/Noise Low light
ISO in Digital Cameras Relationship between exposure and sensor data. ISO can be changed shot to shot in a digital camera In film, each whole film roll has an ISO rating. Images taken with a Canon 400D digital camera. ISO 100 ISO 1600
Image Size DPI physical dot density (dots per inch) of an image as an output, for example onto paper (300) or displayed on a monitor (72)
Compression 10% compression (Quality 90 in save for web) 80% compression (Quality 20 in save for web)
JPG: Image Format Processed data, color space, sharpening, brightness, noise reduction. 8 bits of colour per pixel or 256 shades of color Light files. Compressed. Like the printing of a developed photo. RAW: minimally processed data from the image sensor. 12 bits of colour per pixel, translating to 4096 shades of color Like the negative in film photography. Heavier files (longer to write). None or loose compression.
Image Format and Compression
RAW files.3fr (Hasselblad).arw.srf.sr2 (Sony).bay (Casio).crw.cr2 (Canon).dcs.dcr.drf.k25.kdc.tif (Kodak).erf (Epson).fff (Imacon).mef (Mamiya).mos (Leaf).mrw (Minolta).nef.nrw (Nikon).orf (Olympus).ptx.pef (Pentax).pxn (Logitech).r3d (Red).raf (Fuji).raw.rw2 (Panasonic).raw.rwl.dng (Leica).rwz (Rawzor).x3f (Sigma)
Image Format the advantages of raw format. All your conversions are done on a fast powerful computer at your convenience. Images can be 'fixed' in ways which would be very difficult without the raw sensor data. You get the full range of data from the sensor. Without sharpening or compression you have not 'lost' any data. You can change your mind about some of the picture settings after you have taken it.
Set your camera to RAW + JPG Set the correct time (help to proof authorship) Zoom in the LCD screen to check quality
Composition Techniques Photographic Composition: The pleasing arrangement of subject matter elements within the picture area. Center of Interest: Only one principal p idea.
Framing Frame: the shape and dimension of the image. To support the content by its framing.
Framing & Aspect Ratio Aspect Ratio: the relationship of an image width by its height. Available in digital cameras Crop in PS.
Framing David Avison
Framing & Cropping Portrait of Stravinsky (1946)by Arnold Newman
Framing & Cropping AD MDCCCLVII by Coke, Van Deren
Morris Engel
Morris Engel
Framing
Placement Rules of Thirds: place the subject of interest at one of the intersections or along the lines. To achieve more balance, naturally interesting to the human eye.
Placement Rules of Thirds Psycho
Dynamic Symmetry Placement
Breaking the rules Yes, you can! Rule of Thirds
Centering Roger Fenton
Breaking the rules Yes, you can! Subject Facing thecamera
Breaking the rules Yes, you can! Leave space in front of the subject gaze
Diagonals Diagonal lines add dynamic tension to the image
Diagonals Antonio Fernandez
Diagonals Lewis Hine
Diagonals Andreas Feininger
Balance A sense of the weight of different parts of the image. Symmetrical Asymmetrical
Balance Roger Mertin
Henri Cartier-Bresson
Assymetry Letting the eye wander at will throughout the image. Hans Bellmer
Antonio Fernandez
Shape Geometry and outlines Electronmicroscopy photo of a clam sperm fertilizing an egg, magnification x6000
George Krauss
Lewis Hine
Form The sense of the dimensionality of things, primarily achieved through shading. Timothy H. O Sullivan
John Stuart
Alfred Steiglitz
Alfred Steiglitz
Alfred Steiglitz
Jean Pfahl
The End