of pixels and bits
DESCRIPTION
Photo Communications, Spring 2012Columbia College ChicagoTRANSCRIPT
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22-3530 - 01 PHOTO COMMUNICATIONS
of pixels and bits
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Measuring pixels
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VECTOR IMAGES
Based on points & paths, numericalResolution independent
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RASTER IMAGES (bitmap)
A mosaic of pixels (picture elements)Resolution dependent
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Raster = Resolution Dependent
1430 pixels
1132 pixels
Each raster image is made of a speci!c number of pixels (pixel dimensions)
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IMAGE DETAIL
Every time you capture a digital image, you create a speci!c number of pixels. Image detail is translated into differences
between pixels that the camera registers at the time of capture. Increasing resolution degrades the true detail from
the capture with a ‘best guess’ (interpolation).
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VIEW PERCENTAGE
1430 x 1132 1024 x 768
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View percentage at 100%
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View percentage at 60%
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Every raster image contains a certain number of pixels. Every pixel contains a certain number of bits (ones or zeroes).
The number of bits contained in each pixel is called the image’s bit depth.
BIT DEPTH
for example,
If you are working with an 8-bit grayscale image, each pixel contains 8 zeroes or ones.
2 = 01010101 = 2568
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8 BIT vs (12 vs) 16 BIT
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File size is directly connected to the number of bits contained in an image. For example,
BIT DEPTH AND FILE SIZE
8 bits = a byte
If an 8-bit grayscale image has a pixel dimension of:1430 x 1132 = 1618760 pixels
1 kilobyte = 1024 bytes1 megabyte = 1024 kilobytes
1618760 divided by 1024 (a kilobyte) = 1580.821580 divided by 1024 (a megabyte) = 1.54
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IMAGE SIZE WINDOW
Three different ways of describing image size:
1. Image size2. Pixel dimensions (count)3. Document size: how the pixels are distributed in the “real world,” i.e., your printer
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Tone
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LEVELS
Hi-contrast Lo-contrast
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HISTOGRAMS EVERYWHERE
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TONAL KEY
Tonal character can be de!ned in terms of light, dark, or average, or use the terms high, low, and medium key.
high key medium key low key
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DESTRUCTIVE EDITS
All tonal edits “damage” the !le to some extent. Extreme edits to tone using levels or curves can leave large tonal ranges completely
empty. These gaps in the histogram create what is called banding or posterization.
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NON-DESTRUCTIVE EDITS
Using adjustment layers allows you to make tonal adjustments without permanently deleting capture data.
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SHADOW AND HIGHLIGHT
Be sure to always keep an eye on maintaining shadow and highlight detail when making tonal edits.
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for !lm: Expose for the shadows and develop for highlightsfor digital: Expose for highlights (most of the time)
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BLOWN OUTHIGHLIGHTS
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PLUGGEDSHADOWS
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CURVES
Curves allows you to focus your corrections more accurately within the histogram than Levels.
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BRIGHTNESS/CONTRAST ADJUSTMENTS
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SHADOW & HIGHLIGHT TOOL
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Pixel quality control
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Finding design patternsSHOOTING ASSIGNMENT #2
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Line
Shape
Texture
Space
Size
Value
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L I N ELines can organize, direct, separate, be expressive, suggest emotion, or create rhythm. They can join elements or divide them using a rule, which is a line that separates one element in a design from another.
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S H A P EThe external outline of a form or anything that has height and width. An example would be the three basic shapes: the circle, the square, and the triangle, considered to be the fundamental shapes found in all design.
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T E X T U R EThe look and feel of a surface. In two-dimensional form, texture is essentially visual and adds richness and dimension to work. Texture can also refer to pattern, which is visual texture.
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S P A C ERefers to the distance between shapes and forms, but it is best understood in design as white space or negative space—terms used to refer to the empty but often active areas that are void of visual elements.
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S I Z EHow big or small something is in scale to other objects. Scale refers to the process of making size relationships. unless there is a scale of reference within a design, it is impossible to discern the relative scale of objects and the meaning they represent.
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VALUE (& COLOR)The relative lightness or darkness of an area or object. Value adds dimension by creating the illusion of depth in a design. With the addition of a color, you can create and convey a mood to enhance a strong concept.
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