DPP Part 4 - Reality and Intervention - Exercise 3 - Enhancement

DPP Part 4 - Reality and Intervention - Exercise 3 - Enhancement

This exercise explores the next level of intervention and allows you to make changes that many would say go beyond reality.

The exercise asks for a close-up, head and shoulders portrait in available or natural lighting taken without flash or photographic lighting, the face should not be in direct light but face toward the camera with both eyes clearly visible.


Selection 1
This should be of the whole face which I should adjust increasing brightness and contrast. The result should draw the viewers attention to the face.

Starting Position:

This image was taken with ISO at 2000 to boost available diffused light



I've then zoom copped on image, drawn round the face with the magnetic lasso, feathered the edge so its not so sharp and then increased contrast and brightness to 12 so that there are changes but not so as to appear excessive

I've then sharpened the image using unsharp mask and cropped the image to reduce some of the bland background.

Selection 2

I've created a duplicate layer for each eye then used the lasso and drawn freehand around each eye on its individual layer. For both eyes I've:
 - adjusted contrast to 40
 - adjusted brightness to 40
 - adjusted saturation to 30

I've the used unsharp mask to sharpen the image:

The question the exercise poses is: At what point between lighting the face for visibility  and altering the eye colour do I consider I have tampered with reality?

Well this is a personal view point and in its extreme tampering with light is perhaps tampering with reality. However I see this as a more acceptable change as light can also be changed artificially and also to adjust the differences between what the eye may see and the camera sensor may capture.

In terms of the eye colour changes then the changes I have made are subtle but for me is much more tampering with reality. Fashion and TV magazines will sometimes even change the eye colour completely, this is also seen in many pop videos. However I think that there is an acceptance that fashion / model studio images do come with some change and there is a movement from reality. This is often performed to sell products, music or magazines and many other items. 

Where change perhaps could be seen to be unacceptable is where eye colour and brightness is enhanced on the basis of attempting to sell a product that does this. This for me is not only a change from reality but is also promising results from a product which in this image at least where not caused bu sung the product so is published under false pretences.

Another change change is often the use of soft focus and in the film industry I recall a TV series which starred Joan Collins whom whenever was in scene always seemed to get a special soft focus lens used for the filming. Its use, perhaps as a result of the technology for its tome, was in fact obvious to see so the illusion for me actually failed

The Art of the Altered Image

My tutor recommended a very interesting article on altered images. Has image alterations only been part of the digital era or has it been part of the film era also.

Well, take a look at this image and tell me what has been altered:

Well you probably would have had to have been there at the time the image was taken to understand what was faked. In this image by Matthew Brody  he added in an extra figure.

The follow article is very interesting citing other examples of photograph manipulation.

http://lightbox.time.com/2011/06/13/doctored-photos-the-art-of-the-alteredimage/#
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To what degree is photograph / digital image manipulation acceptable? This is a debate that will continue forever since everyone will have a view and be able to detail perhaps a genre or circumstance when this is acceptable and when this is not.

The following article found in the link below examples 10 images passed off as images of Hurricane Sandy:

http://theweek.com/article/index/235578/10-fake-photos-of-hurricane-sandy

The following image was purported to be the inside of a fast food chain outlet ravaged by Hurricane Sandy but was actually from a 2009 film "Flooded McDonalds. In this instance the image wasn't altered but the time and location of the actual event versus the reported event were totally untrue:

For me personally and I suspect the vast majority of people seeing reportage type of images in the news or in the paper would expect these images to be real and reflective of what was actually in front of the lens at the time the shutter was pressed.



One of the Sunday tabloids run a recurring theme of items being found in unusual places. Its certainly eye catching and its arguably reportage photography but how many people would ever imagine that the image of a World War 2 bomber found on the moon to be true. I also recall one with an image of a double decker also on the moon. Does the image puport to be real or is it so obvious:

The following link shows an image from a blogger captured 4 years ago was used on a social website purporting to be an image taken as part of a recent and violent sectarian clash:

http://www.bbc.co.uk/news/blogs-news-from-elsewhere-24956762

In the marketing world images can be altered to help sell a product; is this an expected actuality or are sellors of items such as beauty products using altered images to encourage people to buy products to obtain a look that perhaps is not even real.

That said there is an audience for creative art where photo manipulation is both encouraged and admired.

The following image created by AtermisArt, well their pseudo name, and published on website Deviant Art is clearly a digitally manipulated image taken of what appears to be two drawings. The artist explains it is a self portrait and perhaps shows some insight of the their character or feelings:

The following image is of my identical 19 year old triplet daughters. Is this a faked image by its obviousness or is it a genuine image created in such a way as to encourage the viewer to consider its a fake until evidence is produced to disprove this? Let me know what you think:

Chimping - Love it or Loathe it but isn't it part of normal workflow?

A conversation between a few friends started on the subject of "chimping".

What is chimping? Apparently its performed by the amateur digital photographer regularly looking at each image doing a chimpanzee impression "ooh, ooh ooh" in the self proclaim or self back slapping.

The pro's say it distinguishes the pro from the amateur, the serious  amateur says it distinguishes the serious amateur from the amateur.

Hey, hang on a minute....I'm taking images in the digital world and my camera has an LCD on the back that allows me to check my images. Isn't it a wise person who chimps his images on location to review focus etc rather than waiting until they get home and finding a problem when its too late? Don't the studio pro's have their camera wired up to a great big screen where the assistant checks focus, lighting shadow etc?

My experiences as a wedding photographer reaffirmed my mid-shoot workflow to do this for formal images. At terms it allowed me to check focus and ensure I re-shot images where one of the subjects may have closed / have closed their eyes. In the same way as my tutor explained, reportage images in difference to the formal images beg for spontaneity and chimping may mean you miss the next opportunity. Everything has its place I feel

Do I care if I chimp, no I don't. Do i care if I receive a smug look from a pro at an outdoor event I may be shooting at if he sees me chimping, no I don't. Why, because its part of my workflow and increase my chances of creating the image I intended.

HOWEVER chimping should not be allowed to dominate your photography, interrupt your creativity or reduce your capture of images.

My view is that whilst its adding to your photography work flow then continue. If someone gives you a knowing look and its because they are regularly producing great images avoiding the need to chimp so frequently then great, they've probably earned it having the ability to regularly shoot great images and are much more skilled than I

For me all the time it aids my photography and doesn't restrict me then I'll continue but I'll always save my "ooh, ooh, ooh" self congratulations for when someone recognises the intent in the image I've created. That will always be when the images is on a screen or in print and even then my developing critical eye will no doubt be looking for ways to improve the capture

DPP Part 4 - Reality and Intervention - Exercise 2 - Improvement or Interpretation

DPP Part 4 - Reality and Intervention - Exercise 2 - Improvement or Interpretation

The purpose of this exercise is to use a portrait image in a setting and use a manual method to select just an area of the person in the image

This is the starting image, my intent will be to make the eyes more striking and to whiten the teeth. I will also zoom crop the image to make the face more dominate within the image.

I've then created a layer and coloured the eyes blue:

 This is a little scary :D However selecting the layer then setting the change to soft light the colour then becomes a bit translucent and the structure of the eye comes through. I'vge also reduced the fill % to 26% which reduces the strength and lets the eye colour look much more realistic, see image below:

I've then created a new layer, used the magnetic lasso and drawn around the teeth. Using this layer I've reduced contrast and increased brighten which has whitened the teeth, see below:

Then some cropping of the image and the image changes are completed

I would not normally consider eye colour changes unless there was a specific reason. Teeth whitening without going to the extremes many film stars do can make a be difference for the person you have taken the image of.

In my personal experience people are very worried about the colour of their teeth in portraits, just as our film stars who will go to lengths to have them whitened.

The purpose of the portrait when taken solely for the subject is to capture an image that they are happy with. In this instance whilst the captured image has been changed, the changes made are very subtle. Anything excessive will stand out as unreal and then the whole image will start to fall apart in the eyes of the viewer.

If you look at the front of any magazine, particularly TV magazines and you will see the subject on the front cover looking dramatically different when in film / on TV. No doubt this helps sell magazines.

I do recall as a younger lad seeing a poster of the Spice Girls in bikinis all looking very slim and trim. The following Sunday a reporter managed to capture a picture of one of the Spice girls on holiday on a beach and the difference was amazing. Perhaps sometimes where there is too much change when comparing final image to actual subject then difference will be clear the viewer will realise he has been duped by the image.

DPP Part 4 - Black and White - Exercise 1 - Correction

DPP Part 4 - Black and White - Exercise 1 - Correction

This exercise requires us to identify two images, one with dust spots and one with lens flare and use a post processing tool to correct them

Dust Spots

In the mono version of this image there is a dust spot above the brides head, looks like a dark circle:

I've zoomed to 300% and used the spot healing tool selecting an area next to the dust spot to be used to overlay the dust spot

Pre-Fix:

Post-Fix:

At 300% I am unable to see my post processing fix of the dust spot. Can you?

Arguably the removal of a dust spot whilst a post processing fix as it is an issue with the camera then it should be considered an ethical change as it is not changing what is in front of the camera lens.

Interestingly though how ethical is it to convert the image to mono. Whilst the image remains the same desaturating the colour is not what was originally recorded.

I wonder if the days before colour if this act of capturing images in black and white was considered ethical?

Lens Flare:

Well perhaps I am blessed with good coatings on my lenses else or perhaps my tendency to use lens hoods has paid off as I can't find many images with lens flare. However this has several flare spots which I will look at but not the major half rungs. Its interesting that there is a post processing filter to add lens flare so perhaps in certain circumstances is a desired image element

Here is my starting position:

I have used the clone stamp to remove the obvious flare spots but have not attempted to remove the halo rings:

I think on the scale of very justifiable and questionably justifiable the removal of dust spots and lens flare for me is in the very justifiable in the digital world. My reasons for this would be that were you an observer behind the photographer then the scene captured would reflect that that camera captured with the removable of lens "issues".

I would think that reportage photography to have perhaps the toughest of demands that the the image captured reflects exactly that seen and the removal of dust spots and flare, if required, would still be morally acceptable

However it is not always post processing that raises the debate regarding what changes are morally acceptable or not, it appears that this can also be applied where the staging of an image can also raise concerns.

With this image the judges at a competition run by the Natural History Museum initially awarded the photographer the top prize. However controversy that the wolf was not in fact a rare wild specimen and was in fact a tame specimen result in the photographer being stripped of the award. 

Additionally whilst the image is certainly a dramatic capture it is considered that a wild wolf would not have jumped the fence but would instead have slipped through the gaps in the fence.

So whilst argument as to the morality regarding post processing an image remains there is also a requirement in the morality to be applied to the actual capture of an image. Acceptable perhaps in the studio where the image is seen to be staged, in the case of the 2009 Wildlife Photographer of the Year competition, the wolf not being wild broke the competition rules.

An image in the local paper

An image in the local paper

It always nice to get some publicity and the recognition is rewarding. The following is an image published in this weeks Forest Review

Whilst probably not one of my best images I felt it important keep the location relevant to the image e.g. trees representing the Forest of Dean from where the image was taken.

I've no been able to capture the full feeling that the scene gave me and perhaps a stitched panoramic would have been a better choice but i have tried to create a triangle of the trees with an open base at the bottom, and the eye following the two lines of trees toward its apex adds depth I think to the image.

In hindsight I think I could have created as series of images taken from a tripod and stitched them together to give the viewer a greater understanding of what it was like to be there at this time

DPP - Assignment 3 with Tutor Feedback

DPP - Assignment 3 with Tutor Feedback

Introduction

My learning log can be found here: http://warrenjonesphotography.blogspot.co.uk/

The following link is my Assignment 3 blog:

http://warrenjonesphotography.blogspot.co.uk/2014/05/dpp-assignment-3.html

This document details:

a) My approach to DPP assignment 3

b) My assignment images

c) My key learning’s 

I have now received my tutors feedback which I have now included within my assignment details in red and my comments are in green

Assignment 3 – Monochrome

The objective of this Assignment is to choose a subject or theme and shoot a set of between 5-10 images attempting to bring out the monochrome image qualities of:

-          Form

-          Tonal Contrast

-          Texture

-          Consider experimenting with key

Michael Freeman in his book “The Complete Guide to Black and White Digital Photography” talks about black and white photography occupying a unique place in the world of art and imaging but also within the world of photography it is taken for granted. This he says is as a result of black and white being established as the senior tradition of photography over the course of a century.

This may perhaps have been true in the film world but I’m not sure it is in the digital world. Whilst Michael Kenna is producing some stunning images in black and white (see my blog entry) using a medium format camera and Agfa film, Sebastio Salgado (see my blog) I believe has moved from using a Leica M and now uses the Canon !D series of cameras. Though his Genesis project started with a Pentax 645 he moved to digital and completed it using a Canon 1DS. These images are absolutely stunning and carry with them the exact emotions Selgado attempts to capture.

The digital format of photography has taken the world by storm and whilst there are many amateurs using cameras for hobbies or family snaps now, my belief is that black and white photography in the digital world has become less interesting to the masses and many digital images are captured images of moments as they were seen rather than full creative vision and the capture of moments where feelings of equivalence are shared with the viewer as mentioned by Alfred Stielgitz when talking about his “Equivalents” series.

I personally am fascinated by the digital black and white medium and the desaturation of colour and feel the capture and exchange of the vision or feeling by the photographer when working or aiming to work in black and white to the viewer can be enhanced as a result since the black and white medium is not something most people will see. For me it’s almost as if the desaturation process is removing some of the clutter and confusion from the image allowing the viewer to focus entirely on other elements to be found in the image.

I’ve chosen Gloucester Docks as the subject for my set of images. Gloucester Docks has been the setting for the film “Amazing Grace” starring Ioan Gruffud, Michael Gambon and Rufus Sewell and was also the setting for the 1970’s series “The Onedin Line” which at some point in my childhood I can recall seeing on TV.

The purpose for me using this location is to show both the contrast of old and new and the embracement of old and new and how these can co-exist and I hope to share the equivalence of this understanding within my images.

Overall Comments 

This assignment 03 that explores monochromatic conversion has been received quite well. You have produced an overall good series that exhibits some technically pleasing tonal ranges; a few of the compositions could have been improved yet they work. Your context and research has developed nicely from assignment 02 with some interesting points and questions raised.  

Thank you. The investment in the research has been very stimulating. I think in some cases as noted in my original exercise learnings is that I become overly focused on tonal range and some images in terms of composition suffered as a result. It is important that I continue to retain base elements in my mind

Feedback:

Demonstration of Technical and Visual Skills

Your eight images work quite suitably for this submission, the choice of Gloucester docklands has been good, as it has provided some rich texture and nice tones. I’ll admit I also vaguely recall the series ‘The Onedin Line’. 

The technical considerations of this project have been fruitful, continuing to utilise previous skills gained through the preceding assignments is good to read. Your comment on photographers being reluctant about their techniques and processes is founded, yet if you investigate further you can find these details out. For example with Salgado he used the software DXO Film Pack 3, see here:

http://www.dxo.com/intl/photography/dxo-filmpack/creative-photo-software

That's very interesting but one wonders how much of this is advertising income and what Salgado did use for his genesis set of images, this processing I have been unable to determine, perhaps I need to look harder. I personally don't know anything really about film, black and white or colour but I did wonder which plug in was better for replicating silver haldide film. I'm sure opinions of each vary and Salgado's statement confirms his view. However here is a link of another persons view confirming their preference:

http://www.lifeafterphotoshop.com/film-simulation-plug-ins/2/

Such is the power of digital post processing tools that clear winners do not stand out. there are several to chose from. I'm not sure how true it is but UI read from your link below that Salgado's assistant Daido Mriyama uses Silver Effex Pro 2

With your set I found that images #3, 6 and 7 to be the weakest in terms of

composition. Image #7 of the crane, the texture though is very nice and by using the lower vantage point has worked.  Image #1 is good and is quite strong overall, the composition is nice and the conversion process has worked. When you mention ‘Blinkies’ I assume you are referring to the highlight clipping alert; this along with reading your histograms is a very important feature that is paramount to use. 

Yes I agree with your summary and I was torn about image 7 but I did like the texture the scene contained. Yes its highlight blinkies I refer to and the aim to expose to the right in that blown out highlights are lost but detail can often be recovered from shadows at the other end in post processing if desired

Achievement versus Intention

Interpretation of colours into tones is I believe something that comes with experience and a conditioned eye.  This is an area in this set of images that I’ve begun to appreciate but of course will take time before I can perform this naturally. Images 1, 3, 7 and 8 for me are the stronger images but I’m not sure if this is because my interpretation of colour conversion in to tone is more successful than the others or simply because compositionally they are better images. Images 1 and 8 I think best meet my theme of contrasting old with new and are also I think the best 2 images within the set. I feel my understanding of the elements required to make image conversion to black and white are much improved but I need to experiment more with post processing. Many professional digital photographers appear reluctant to divulge their techniques and I’m not sure if this simply because digital processing is considered less skilled than darkroom processing or because in the digital world techniques can be easily copied and so closely guarded.

Workflow

I continue to use my workflow as per DPP Part 1 though my mid-shoot workflow is including consideration for elements key to black and white conversion such as contrast, texture and tone. In addition given my desire to express the blend of old and new in my images of Gloucester Docks my consideration is to look elements which I can image to do this in both subtle and non-subtle ways. Clive White’s kind explanation around my blog post about Alfred Stieglitz and the “Equivalents”and the capture of an equivalent continues to give me much photography food for thought. I’m not sure that any change in my photography approach will be revolutionary, but will be evolutionary. As part of this set of images I have tried to incorporate elements of emotion within my set of images in terms of contrast between the old and the new.

Mid shoot workflow continues to include revision of each image and the histogram and for this assignment an attempt to look for elements that will convert well to black and white. In addition at this location opportunity of elements in and around the docks will vary. This is a good challenge to have and anticipate rather than being completely fixed in my approach before getting to the location

Post shoot workflow my images will be processed in Silver Effex Pro 2 and I will experiment in some areas of post processing to achieve the look, style and feel that I’m wanting to create. My post processing will attempt to create a slight old, historical look to the images but as a set clearly also contain the present time.

All images were taken using an Ultra Wide Angle lens

Image 1

This scene had a number of interesting aspects that make it good for black and white conversion. Textures and shadows of and amongst the buildings, the water and the reflections. I’ve framed this to give extra perspective by including the buildings above the bike on the right giving added depth to the image, particular the far building which was once the Bank of England’s Head Office.. I’ve used SEP2 for the black and white conversion and added lens fall off and have slightly darkened the image. I’ve used the gradient tool in CS6 and applied this to the top of the image and used the eraser with an opacity setting to help reduce and amend the darkness to show off the haze and create perspective and depth to the sky. This is a good opening image with my theme of combining old and new buildings, old and new boats and I have included the timeless form of transport in the foreground.

Image 2

One of several cranes around the dock. I’ve taken a low vantage point and wanted the deep dark tones to dominate this image. Using the camera LCD and the histogram I still failed to notice the amount of highlight clipping top left of the image, I need to reset blinkies. I have used clone stamp on parts of the crane boom to reduce this. I had also failed to notice the mast when framing the image which I have clone stamped out also.

Image 3

With sun coming from right to left I've captured shadows in the image and the light as helped demonstrate the texture of the bricks. I've applied a red filter as part of the conversion to black and white and burnt the edges slightly to help restrain the viewers eye within the frame. This image combines the old building and the new double glazed windows as it has now been converted to flats. Interestingly the front building as been adopted by the Gloucester Council who have been less than subtle in their sign positioning of the building.

Image 4

The late evening sun is coming from right to left so that the faces of the buildings on the left are lit as are the cruiser boats which look perhaps a little out of place against the warehouses. These boats are in complete contrast to the twin masted sail boat between the buildings. I believe there is a good range of tones and I've brought out during conversion some haze within the sky to add depth and perspective to the image. I've also cropped the image in almost letter box style to avoid the sky and water dominating the image and focussing the viewer on the diagonal line of white boats.

Image 5

An old dry dock in use in the modern world. The setting light top left has caused me some issues in exposing the image correctly across the frame but at the same time I’ve benefited from the shadows and the light picking up the texture of the bricks on the right hand side of the dock and the buildings on this side of the frame. There is a interesting range of tones across the whole image. I’ve applied a lens fall-off styled vignette as part of the conversion process. I’m not 100% happy with the light exposure top left of screen. Unfortunately I was prevented walking around the dock else I would have taken some shots with the sun behind me.

Image 6

Though this side of the buildings is in shade I've wanted to contrast the modern style of the flats on the right of the image with the long boat / barges and the two masted sail boat on the left of the frame. There is good tonal range through the image and the diagonal line of the boats takes the viewers eye through the image the warehouse toward the left of the image and the sail boat.

Image 7

The texture of the bricks and the cobbles attracted me to creating this image and in taking a low viewpoint has emphasised the diagonal lines of the rails, wires and perspective of the buildings. There is good tonal range amongst the brickwork of the building and the cobbles of the floor.

Image 8

I’ve finished this set of images with a final contrast between the three white cruisers and the darker longboat in front of the warehouses. The perspective of the two outer buildings in the frame give depth to the image and the shadows give a variation in tones. The slight breeze across the water gives texture to the image but allows the reflections in the water to be recognisable. I’ve applied a red filter which has darkened the image and given more interest to the sky and in addition I have burnt the edges of the frame.

Self Analysis:

1. Demonstration of Technical and Visual Skills

Whilst I have a lot more to learn about digital post processing I feel I now have a good grounding and with the knowledge learnt so far on this course I feel technically comfortable. In terms of visual skills then these are developing though in the case of this assignment I can become so focused on interpretation of scene for mono conversion that my image composition can weaken

2. Quality of Outcome
I am now much more focused on workflow and basics such as analysis of my camera LCD histogram. However some basics such as using blinkies would be a good addition for me to use to help my analysis of what the camera has been able to capture, its not always what my eyes can see. I need to be more aware of where the sun is and the camera's ability to capture light since its not always matched by how my eyes process it. I hope the presentation of my assignment is to the required standard but I am always keen to improve so suggestions are welcome. I have, I believe, improved the colour scheme of my learning log for DPP Part 3 onwards as a result of tutor suggestion so it would be good to understand how this is now seen. I feel I have set out a valid theme for this assignment and I think the subjects I have included in these images demonstrate the embracement of old and new world technologies and how these can continue to work together

Quality of Outcome

The work has been good to assess and the text has read well, it is all clear with good and succinct commentaries following each image that helps to formulate your conclusive reflective writings. You have produced a competent assignment that has communicated your ideas reasonably well.  

Its pleasing that my assignment is competent but I would like to endeavour to improve this in the future.

3. Demonstration of Creativity
I have attempted to create different viewpoints within this set of images, shooting buildings with a UWA lens does have its problems in terms of buildings can look to be in the wrong proportions and the camera can create building lean.I have applied my own style to the frame composition, been creative and made use of basics such as perspective, lead in lines, diagonals to create energy and post processing techniques such as light fall vignette and burn edges of the frame. I think the key here is experiment and learn and then keep this in mind as part of my workflow thoughts before the post processing stage

Demonstration of Creativity

You have developed this project to a good extent; there is some evidence of a

strong investigative approach. Your initial questioning into the very nature of

black & white photography in the digital age was quite poignant. Your own style, is indeed quite evident which has led to some good shots, watch out for over using the vignette setting.  

You mention about using the software ‘Silver Effex Pro 2’, it may be good to

produce some screen grabs of this to evidence your developmental pathway and technical investigations. 

I have below detailed as a series of screen grabs some elements of my post processing workflow within Silver Effex Pro 2 for image 1:

This is my initial starting position from the RAW file with some minor changes such as horizontal positioning, curves adjustment and highlights adjustment:

I've then made slight crop adjustments and then opened this in Silver Effex Pro 2. I've used the Full Contrast and Structure preset filter, applied a red filter and made some small increases to the structure and contrast sliders. The red filter will bring out a wider range of tones. Further information for anyone interested can be found here:

http://www.ephotozine.com/article/using-coloured-filters-with-black---white-film-4828

I've then selected from the Vignette drop down Lens Fall Off 1 option.This gives a slightly darkened element to the edge of the frame and helps to conrain the eye within it. Using the Loupe. Using the Loupe and Histogram option I can review across a scale of 0-10 the tonal range of my image and where these tones exist on my image and also review again the histogram

This is how my image looks as I exit from SEP2:

In Photoshop I've then created a new layer and using the gradient tool and an opacity setting of about 65%, clicking outside the image above and then about an inor 2 down into the image I've applied the gradient. This like a gradient filter darkens the top of the image slightly and I believe adds perspective to the image. Its important to keep all these layers and save them as a separate image file. This way the changes do not become permanent and the image can later be changed, layers deleted if so required.

My oldest daughter is in her 3rd year at Art college and we often discuss challenges, techniques and suggestions. The application of the gradient was a skill I have previously learnt from her

I then flatten the image, save it and then sharpen the image with unsharp mask, below and then save this file also creating a whole set of process stepped images. I tend to use an amount of 150% for landscapes, for portraits etc then I'll often reduce this to 50% if sharpening is required

I'll then further review the image to ensure I am happy, in this case I've cropped a small element from the bottom which I felt was distracting to the eye:

As my post processing skills develop in both CS6 and SEP2 then I'll experiment more and also research Adobe and youtube for tutorials and where I want to apply this to images. Digital processing much like photography requires an element of experimentation and risk taking at times but maintaining the direction of intent

4. Context
Some of the research I have performed has been enlightening and sets the bar very high around black and white digital imagery. As Albert Stieglitz has mentioned, and also Clive White's text the desire to capture an emotion or idea is now becoming an aim when producing my work; the execution of this more difficult but as Clive mentions attempt to create and capture what feels right for me - this is clearly key since my work should be a reflection and be seen as such of my own inner thoughts, thinking and expressed as a digital visual

Learning Log  & Contextualisation

Contextually you have made some interesting points and raised some good

questions that would benefit from further visual investigations. Exploring more

about the emotive side of capturing would be worth looking into. It is good to see that you have investigated the artists suggested from assignment 02. 

Salgado’s work I consider a total eye opener in terms of investigating the benefits of using digital over traditional silver halide film. His work is stunning and it does not need scrutinising over the medium in which it was shot. Yet I find it interesting that the software, ‘Film Pack 3’ was used to emulate a traditional film stock ‘Tri-X’. So even though digital is used the final resolution is carefully crafted to look like film.

Have a read of this article:

http://theonlinephotographer.typepad.com/the_online_photographer/2013/09/dxo-film-pack-and-salgados-method.html

If you have time read this MA dissertation examining B&W photography:

home.utah.edu/~u0356763/nojima.doc 

Suggested reading/viewing & Pointers for the next assignment

This next assignment on digital manipulation investigates the process on altering images and raises questions about the ethics of postproduction, looking at when the line has been crossed in terms of integrity and realism in our visual representations. Nearly every image is altered, smoothing skin tones for a portrait/fashion shoot or to remove a piece of rubbish in a landscape image.

However, image manipulation is not a new concept; since the birth of

photography images have been altered to convey different meanings. Have a

look at the following link of historical photographs that you may not have

questioned before in terms of ascertaining their creditability:

http://lightbox.time.com/2011/06/13/doctored-photos-the-art-of-the-altered-

image/#1

Just a random series, yet quite interesting as it may be of use for the digital

manipulation part, look at Emily Allchurch’s series ‘Urban Chiaroscuro’:

http://www.emilyallchurch.com/emily-allchurch.html

Regarding the near architectural approach you have taken to this series have a look at this photographers work, some very great yet questionable pieces, which will be great for the next section. 

http://fr.phaidon.com/agenda/architecture/articles/2011/october/06/brutalist-

architecture-the-remix/