Friday, October 29, 2010
Friday, October 15, 2010
HIGH DYNAMIC RANGE
High Dynamic Range images are used to create surreal pictures out of a compilation of RAW photographs. These pictures are meant to mystify the viewer, leaving them questioning if the photograph is real or fantasy. Photographers may also choose HDR to create an intense scene for artistic effect. Artists use the HDR technique in order to take the exaggerated highlights and shadows in a real life scene in order to portray an accurate, yet puzzling picture. The technical function of HDR is to create a very wide dynamic range within an image between the lightest and darkest areas, because its using multiple images at once. You can expose properly for all areas in the photograph, so nothing is too under or overexposed.
HDR images work best with scenes that have simple linear lighting that blend from light to dark, which is commonly seen in landscape photography. A landscape’s bright sky contrasted with the dark earth provides the photographer with the lighting and contrast needed to create an ideal High Dynamic Range picture. The various photographs used to make up an HDR image must be shot on a tripod in order to replicate the same exact positioning for the multi exposed pictures. This is another reason still landscapes are a popular subject.
Artists also choose to construct a High Dynamic Range photo in order to create a vivid and clear image. When making an HDR picture Photoshop takes the most exposed photos represented for each hue and then incorporates the section into the final image. This process therefore chooses the picture that recorded the most light in that particular shadow detail. This decreases the amount of noise and leaves the photographer with crisp shadows. Photoshop then allows for tone mapping on the singular image that is produced. It will create a better contrast and overall tonal range.
Artists also choose to construct a High Dynamic Range photo in order to create a vivid and clear image. When making an HDR picture Photoshop takes the most exposed photos represented for each hue and then incorporates the section into the final image. This process therefore chooses the picture that recorded the most light in that particular shadow detail. This decreases the amount of noise and leaves the photographer with crisp shadows. Photoshop then allows for tone mapping on the singular image that is produced. It will create a better contrast and overall tonal range.
HDR images developed from the tone mapping technique in the early 20th century. The effect was created in the darkroom by dodging and burning for extreme highlights and shadows. Although this is not ‘true HDR’, it is the precursor and the last step in the HDR process used currently. Ansel Adams perfected the technique of tone mapping and turned it into an artform, and the tonal range he was able to create is what we can replicate digitally. The digital technique as we know it now was introduced with CS2 in 1997 and created a wave of change in the digital photography world.
(Ronika, Monet, Lucia, Stefanie)
Photo source: http://www.smashingmagazine.com/2008/03/10/35-fantastic-hdr-pictures/
Thursday, September 30, 2010
Wavelengths and Turrell
"Wavelengths" was truly one of the most curious films I've watched. The part that interested me the most about it, though, was the soundtrack. The music and the different changes of color in light play upon the title, demonstrating different facets of wavelengths.
The sounds started off as ambient street noise, talking, and then the pleasant surprise of The Beatles' "Strawberry Fields Forever". But then, as the film goes on, it becomes apparent that the camera's slow increments of movement towards the central image of the water is mirrored by a slowly elevating pitch. The sound is made up of several tones, but one main pitch begins to rise and rise. The soundtrack accompanies a range of different color filters that change the tint of the natural light.
The way the pitch rises creates a sense of urgency both conceptually and aurally. As pitch rises, the sound waves that make up that pitch become more and more frequent, resulting in a shorter wavelength. This concept matched with the ever-urgent high noise makes the viewer (at least this viewer) uncomfortable and one only feels at rest once the camera finally settles upon the image of the sea.
The interesting thing about this soundtrack is that it does not seem to fit the images. We're shown a different range of wavelengths of light in the color and brightness portrayed within the film. But the sense of urgency portrayed in the soundtrack is not exactly mirrored with the images. This is not to say the images do a bad job of jarring the viewer. The different changes in color and intensity of light disturb the flow of the steady movement of the camera, often doubling the image and surprising the viewer.
Yes, this film is at first glance some sort of 'artsy-fartsy' craziness, but it ends up being an interesting, in-depth look at natural light, light in general, and how just the steady movement of a camera and changes in light can evoke emotion within a viewer.
And after all, that is what photography is about? Capturing light to evoke emotion?
Turrell uses light in a similar way to Snow, in that he captures light in a way that transcends and transfigures a viewer's way of seeing the world. Turrell is different in that he manages to capture light in a way that doesn't disturb the viewer's existence, but somehow uplifts and enhances it. He makes light a spiritual experience, whereas Snow takes light to a jarring level.
The sounds started off as ambient street noise, talking, and then the pleasant surprise of The Beatles' "Strawberry Fields Forever". But then, as the film goes on, it becomes apparent that the camera's slow increments of movement towards the central image of the water is mirrored by a slowly elevating pitch. The sound is made up of several tones, but one main pitch begins to rise and rise. The soundtrack accompanies a range of different color filters that change the tint of the natural light.
The way the pitch rises creates a sense of urgency both conceptually and aurally. As pitch rises, the sound waves that make up that pitch become more and more frequent, resulting in a shorter wavelength. This concept matched with the ever-urgent high noise makes the viewer (at least this viewer) uncomfortable and one only feels at rest once the camera finally settles upon the image of the sea.
The interesting thing about this soundtrack is that it does not seem to fit the images. We're shown a different range of wavelengths of light in the color and brightness portrayed within the film. But the sense of urgency portrayed in the soundtrack is not exactly mirrored with the images. This is not to say the images do a bad job of jarring the viewer. The different changes in color and intensity of light disturb the flow of the steady movement of the camera, often doubling the image and surprising the viewer.
Yes, this film is at first glance some sort of 'artsy-fartsy' craziness, but it ends up being an interesting, in-depth look at natural light, light in general, and how just the steady movement of a camera and changes in light can evoke emotion within a viewer.
And after all, that is what photography is about? Capturing light to evoke emotion?
Turrell uses light in a similar way to Snow, in that he captures light in a way that transcends and transfigures a viewer's way of seeing the world. Turrell is different in that he manages to capture light in a way that doesn't disturb the viewer's existence, but somehow uplifts and enhances it. He makes light a spiritual experience, whereas Snow takes light to a jarring level.
Friday, September 24, 2010
Friday, September 17, 2010
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