Lensbased image making

Ansel adams
I would like to try and recreate the Yosemite pieces of work because of the high contrast. I like these images because of the black and white film and the 4x5 camera he took the images on.
Ansel Adams wanted to photograph Yosemite because when he was sick one day when he was 14 he read James Mason Hutchings' 496-page In the Heart of the Sierras, which caught he imagination and then he soon convinced hes parent to go to Yosemite. He walked around with his simple Kodak Brownie that his parents gave him, which then became the start to his love for photographing Yosemite National Park and he love for photography.

Yosemite National park, INFORMATION (nps.gov)

The dramatic plot-lines of Yosemite’s people set in its special places reveal poetic accounts of discovery, survival, hope, and defeat. History books detail the Valley's discovery by Euro-Americans in the years just before 1851 and probably as early as 1833. Then, the Mariposa Battalion entered Yosemite Valley on March 27, 1851, as a punitive expedition connected to the Mariposa Indian War. As white settlement soon occurred, a stream of visitors followed on foot, on horseback and by rail (to just outside the park)—staying at rustic hotels owned by adventuresome entrepreneurs. Parts of the landscape became exploited—livestock grazed in meadows and orchards replaced native vegetation—spurring conservationists to appeal for protections. President Abraham Lincoln signed an 1864 bill granting Yosemite Valley and the Mariposa Grove of Giant Sequoias to the State of California as an inalienable public trust. John Muir sparked the creation of Yosemite National Park in 1890 after he witnessed the devastation of the subalpine meadows by domestic sheepherds. Hetch Hetchy Valley became the center of a bitter political struggle a decade later when the city of San Francisco wanted to dam the Tuolumne River as a source of drinking water. These captivating stories weave one into another with the next chapter yet to be told.

Anthropologists began studying Yosemite’s cultural heritage in the late 1800s. Since then, archeologists have documented more than 1,500 archeological sites that hold material remnants of past lifeways. By systematically study things left behind—such as tools, ornaments, buildings, food remains, changed landscapes, and indicators of ancient environments—archeologists decipher a cultural chronology and the processes that underlie human behavior. Yosemite archeologists find and document about 25 new sites each year.

This information above came from www.nps.gov

Yosemite national park has been inhabited for nearly 3000 years by humans and animals.A band of Native Americans called the Ahwahneechee lived in Yosemite Valley when the first non-indigenous people entered it.

Evaluation

The things i liked doing about this assignment were to go to tockholes woods and photograph the surrounding environment. I also liked using different types of camera and also using different lens. The thing i disliked about this was shooting in the cold weather.
If i was to do this assignment again i would try and take more images, and to use my time better than i have done.
On one of my images, i had rain on the film when i was developing it so i have a water mark on a few images. if i was to do these images again i would try and do it in different weather. The rain managed to get inside the dark slide and then dried. 

I have gone to tockholes to shoot landscapes because, I was going to try and copy Ansel Adams' high contrast black and white landscape images.

My final 8 images.

Edward Weston

Weston was born in Chicago and moved to California when he was 21. He knew he wanted to be a photographer from an early age, and initially his work was typical of the soft focus pictorialism that was popular at the time. Within a few years, however, he abandoned that style and went on to be one of the foremost champions of highly detailed photographic images.
(wikipedia)

I like this image because of how the water/frost sits on the spiders web. I also like this because of how the foreground is in focus but the background is out of focus.

Robert Adams

Robert Adams (born May 8, 1937) is an American photographer who has focused on the changing landscape of the American West. His work first came to prominence in the mid-1970s through the book The New West (1974) and the exhibition New Topographics: Photographs of a Man-Altered Landscape (1975). He was a John Simon Guggenheim Memorial Foundation Fellow in photography in 1973 and 1980, and he received the MacArthur Foundation's MacArthur Fellowship in 1994.

(wikipedia)

 I like this image because of the low cloud/mist. If I was to shoot this image my self i would try and make the foreground abit lighter by altering my exposure.

Scanned image

This is my 4x5 scanned film.

I took this image at tockholes reservoir.

Fay Godwin

Fay Godwin (17 February 1931 – 27 May 2005) was a British photographer known for her black-and-white landscapes of the British countryside and coast.
(wikipedia)

I like this image because it is a little bit dark, and everything is in focus. if i was to shoot this image i would try it from different angles and see which one is the best one. I would also try and make it abit lighter.

Ansel Adams

Ansel Easton Adams (February 20, 1902 – April 22, 1984) was an American photographer and environmentalist best known for his black-and-white landscape photographs of the American West, especially Yosemite National Park.
With Fred Archer, Adams developed the Zone System as a way to determine proper exposure and adjust the contrast of the final print. The resulting clarity and depth characterized his photographs and the work of those to whom he taught the system. Adams primarily used large-format cameras despite their size, weight, setup time, and film cost, because their high resolution helped ensure sharpness in his images.
Adams founded the Group f/64 along with fellow photographers Willard Van Dyke and Edward Weston. Adams's photographs are reproduced on calendars, posters, and in books, making his photographs widely distributed.
(wikipedia)

I like this image because of how i think it works in black and white. If i was to shoot this photo i would try and clean it up on photoshop, i would also change the aperture and make it abit brighter.

Pictures

Initial ideas

My initial ideas are:
i showed some work to carlton which i thought was not very good, however he though they were really good. so i am now thinking of documenting tockholes.

list of ideas:
Rivers
Trees
Public houses
buisness
i am also going to get a map of tockholes and mark certain areas were i am going to photograph.


the equipment i am going to use is:
tripod
dSLR
SLR 35mm-black and white film
colour film
Medium format
and maybe large format.

PSD

• .psd (Photoshop document), the default file extension of the proprietary file format of Adobe System's Photoshop program.
• A portable or personal storage device, small hard disks designed to copy digital photographs from a camera
• Programmable system device, an integrated circuit manufactured by ST Microelectronics and including Flash-ROM, RAM, and logic functions on a single chip
• Program structure diagram, also known as a Nassi–Shneiderman diagram
• Pose Space Deformation, a computer character animation technique
• Professional Scrum Developer, a course leading to certification for Scrum (development)

TIFF

TIFF (originally standing for Tagged Image File Format) is a file format for storing images, popular among graphic artists, the publishing industry, and both amateur and professional photographers in general. As of 2009, it is under the control of Adobe Systems. Originally created by the company Aldus for use with what was then called "desktop publishing", the TIFF format is widely supported by image-manipulation applications, by publishing and page layout applications, by scanning, faxing, word processing, optical character recognition and other applications. Adobe Systems, which acquired Aldus, now holds the copyright to the TIFF specification. TIFF has not had a major update since 1992, though several Aldus/Adobe technical notes have been published with minor extensions to the format, and several specifications, including TIFF/EP (ISO 12234-2), TIFF/IT (ISO 12639), TIFF-F (RFC 2306) and TIFF-FX (RFC 3949) have been based on the TIFF 6.0 specification.

JPEG

The file format known as "JPEG Interchange Format" (JIF) is specified in Annex B of the standard. However, this "pure" file format is rarely used, primarily because of the difficulty of programming encoders and decoders that fully implement all aspects of the standard and because of certain shortcomings of the standard:

• Color space definition
• Component sub-sampling registration
• Pixel aspect ratio definition.

Several additional standards have evolved to address these issues. The first of these, released in 1992, was JPEG File Interchange Format (or JFIF), followed in recent years by Exchangeable image file format (Exif) and ICC color profiles. Both of these formats use the actual JIF byte layout, consisting of different markers, but in addition employ one of the JIF standard's extension points, namely the application markers: JFIF use APP0, while Exif use APP1. Within these segments of the file, that were left for future use in the JIF standard and aren't read by it, these standards add specific metadata.
Thus, in some ways JFIF is a cutdown version of the JIF standard in that it specifies certain constraints (such as not allowing all the different encoding modes), while in other ways it is an extension of JIF due to the added metadata. The documentation for the original JFIF standard states:

JPEG File Interchange Format is a minimal file format which enables JPEG bitstreams to be exchanged between a wide variety of platforms and applications. This minimal format does not include any of the advanced features found in the TIFF JPEG specification or any application specific file format. Nor should it, for the only purpose of this simplified format is to allow the exchange of JPEG compressed images.

Image files that employ JPEG compression are commonly called "JPEG files", and are stored in variants of the JIF image format. Most image capture devices (such as digital cameras) that output JPEG are actually creating files in the Exif format, the format that the camera industry has standardized on for metadata interchange. On the other hand, since the Exif standard does not allow color profiles, most image editing software stores JPEG in JFIF format, and also include the APP1 segment from the Exif file to include the metadata in an almost-compliant way; the JFIF standard is interpreted somewhat flexibly.
Strictly speaking, the JFIF and Exif standards are incompatible because they each specify that their marker segment (APP0 or APP1, respectively) appears first. In practice, most JPEG files contain a JFIF marker segment that precedes the Exif header. This allows older readers to correctly handle the older format JFIF segment, while newer readers also decode the following Exif segment, being less strict about requiring it to appear first.

RGB

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The RGB colour model is an addictive colour model in which red, green, and blue light are added together in various ways to reproduce a broad array of colours. The name of the model comes from the initials of the three addictive primary colour, red, green, and blue.

The main purpose of the RGB color model is for the sensing, representation, and display of images in electronic systems, such as televisions and computers, though it has also been used in conventional photography. Before the electronic age, the RGB color model already had a solid theory behind it, based in human perception of colours.

 

Adobe RGB

The Adobe RGB color space is an RGB color space developed by Adobe Systems in 1998. It was designed to encompass most of the colors achievable on CMYK color printers, but by using RGB primary colors on a device such as the computer display. The Adobe RGB color space encompasses roughly 50% of the visible colors specified by the Lab color space, improving upon the gamut of the sRGB color space primarily in cyan-greens.

SRGB

SRGB

SRGB is a standard RGB colour space created cooperatively by HP and Microsoft in 1996 for use on monitors, printers, and the Internet.

SRGB uses the ITU-R BT.709 primaries, the same as are used in studio monitors and HDTV and a transfer function (gamma curve) typical of CRTs. This specification allowed SRGB to be directly displayed on typical CRT monitors of the time, a factor that greatly aided its acceptance.

Unlike most other RGB colour spaces, the SRGB gamma cannot be expressed as a single numerical value. The overall gamma is approximately 2.2, consisting of a linear (gamma 1.0) section near black, and a non-linear section elsewhere involving a 2.4 exponent and a gamma (slope of log output versus log input) changing from 1.0 through about 2.3.

CYMK

CYMK

The CMYK colour model (process colour, four colour) is a subtractive colour model, used in colour printing, and is also used to describe the printing process itself. CMYK refers to the four inks used in some colour printing: cyan, magenta, yellow, and key (black). Though it varies by print house, press operator, press manufacturer, and press run, ink is typically applied in the order of the abbreviation.

The "K" in CMYK stands for key since in four-color printing cyan, magenta, and yellow printing plates are carefully keyed or aligned with the key of the black key plate. Some sources suggest that the "K" in CMYK comes from the last letter in "black" and was chosen because B already means blue. However, this explanation, although useful as a mnemonic, is incorrect.

The CMYK model works by partially or entirely masking colours on a lighter, usually white, background. The ink reduces the light that would otherwise be reflected. Such a model is called subtractive because inks "subtract" brightness from white.

In additive colour models such as RGB, white is the "additive" combination of all primary coloured lights, while black is the absence of light. In the CMYK model, it is the opposite: white is the natural colour of the paper or other background, while black results from a full combination of coloured inks. To save money on ink, and to produce deeper black tones, using black ink instead of the combination of cyan, magenta and yellow produces unsaturated and dark colours.

black and white editing

Fist select your image.
then go to Image, Adjustments, Black and White.

Then you can choose how dark you want the reds or yellows Etc.

then choose how dark you want the image to be :D

Then go to image, adjustments and then click on brightness/ contrast.

and then do a low contrast picture (shown above).

and then do a high contrast image(shown below).

And there you go you now have black and white image, a low contrast black and white, and a high contrast image.

Photography and Privacy

Photography and privacy

A right to privacy exists in the UK law, as a consequence of the incorporation of the European Convention on Human Rights into domestic law through the Human Rights Act 1998. This can result in restrictions on the publication of photography.

Whether this right is caused by horizontal effect of the Human Rights Act 1998 or is judicially created is a matter of some controversy. The right to privacy is protected by Article 8 of the convention. In the context of photography, it stands at odds to the Article 10 right of freedom of expression. As such, courts will consider the public interest in balancing the rights through the legal test of proportionality.

A very limited statutory right to privacy exists in the Copyright Designs and Patents Act 1988. This right is held, for example, by someone who hires a photographer to photograph their wedding. The commissioner, irrespective of any copyright which he does or does not hold in the photograph of a photograph which was commissioned for private and domestic purposes, where copyright subsists in the photograph, has the right not to have copies of the work issued to the public, the work exhibited in public or the work communicated to the public. However, this right will not be infringed if the rightholder gives permission. It will not be infringed if the photograph is incidentally included in an artistic work, film, or broadcast.

Infringement

Infringement

Infringement of the copyright which subsists in a photograph can be performed though copying the photograph. This is because the owner of the copyright in the photograph has the exclusive right to copy the photograph. For there to be infringement of the copyright in a photograph, there must be copying of a substantial part of the photograph. A photograph can also be a mechanism of infringement of the copyright which subsists in another work. For example, a photograph which copies a substantial part of an artistic work, such as a sculpture, painting, architectural work (building) or another photograph (without permission) would infringe the copyright which subsists in those works.

However, the subject matter of a photograph is not necessarily subject to an independent copyright. For example, in the Creation Records case, a photographer, attempting to create a photograph for an album cover, set up an elaborate and artificial scene. A photographer from a newspaper covertly photographed the scene and published it in the newspaper. The court held that the newspaper photographer did not infringe the official photographer's copyright. Copyright did not subsist in the scene itself – it was too temporary to be a collage, and could not be categorised as any other form of artistic work.

The protection of photographs in this manner has been criticised on two grounds. Firstly, it is argued that photographs should not be protected as artistic works, but should instead be protected in a manner similar to that of sound recordings and films. In other words, copyright should not protect the subject matter of a photograph as a matter of course as a consequence of a photograph being taken. It is argued that protection of photographs as artistic works is anomalous, in that photography is ultimately a medium of reproduction, rather than creation. As such, it is more similar to a film, or sound recording than a painting or sculpture. Some photographers share this view. For example, Michael Reichmann describes photography as an art of disclosure, as opposed to an art of inclusion. Secondly, it is argued that the protection of photographs as artistic works leads to bizarre results. Subject matter is protected irrespective of the artistic merit of a photograph. The subject matter of a photograph is protected even when it is not deserving of protection. For copyright to subsist in photographs as artistic works, the photographs must be original, since the English test for originality is based on skill, labour and judgment. That said, it is possible that the threshold of originality is very low. Essentially, by this, Arnold is arguing that whilst the subject matter of some photographs may deserve protection, it is inappropriate for the law the presume that the subject matter of all photographs is deserving of protection.

It is possible to say with a high degree of confidence that photographs of three-dimensional objects, including artistic works, will be treated by a court as themselves original artistic works, and as such, will be subject to copyright. It is likely that a photograph (including a scan – digital scanning counts as photography for the purposes of the Copyright Designs and Patents Act 1988) of a two dimensional artistic work, such as another photograph or a painting will also be subject to copyright if a significant amount of skill, labour and judgment went into its creation.