OCA Photography Blog: P&P-Part 4; Exercise 5; Selective processing and prominence

Monday, 17 March 2014

P&P-Part 4; Exercise 5; Selective processing and prominence

Exercise; Selective processing and prominence

In this exercise I have to select an image that I have already taken from an earlier project in which the issue is the visual prominence of a figure in a setting, by using digital processing methods that I have available to me, to make two new versions of this image.

For the first image I have make the figure less prominent and for the second I have to do the opposite.

Here is the original image I chose to make the corrections too.

1/15 seconds at f/5.6 – Lens EF-S 18-200mm f/3.5-5.6 IS

For this image I used a low aperture to focus in on the woman. I decided to use this image as the colours are very neutral and in a way you notice she is there, but for a split second it may not be so obvious.

This image is the less prominent one.

For this image I changed the following.

· Dulled the brightness

· Increased the contrast

· Lessened the vibrancy and saturation

· Used the burn tool to darken her and the rock behind

· Used the dodge tool to lighten the white sheet on the floor and the wooden structure in the foreground

· Choose the selective colour and edited the following;- Cyan +, Magenta -,Yellow -, Black +

I used the brightness and contrast to flatten the image, at first I thought that I would have to decrease the contrast but that made her more prominent. The selective colour helped as I could dull the colour of her skin tone to make her blend in more and used the dodge and burn tools to decrease and accentuate the areas that I thought would benefit me in making her less prominent.

This image is the more prominent image.

For this image I changed the following.

· Increased the exposure

· Increased the vibrancy and saturation

· Added a warming filter (85) at 21% density

· Choose the selective colour and edited the Black –

· Used the dodge tool on her

· Used the burn tool for the white sheet and the wooden structure in the foreground

With this image, all of the tools did what I thought they would, I highlighted her and used the warming filter to bring out her skin tone and darkened the more prominent areas of the image so to exaggerate her more.

Summary

I found this an interesting exercise. As I said previously I really thought that increasing the contrast in the first image would accentuate her more. I think if you flick between the two images, you really notice the dodging and burning that I added, however I looked at them on their own and you do not notice the highlighting and shading individually.

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Books Used

Visions of Earth: National Geographic photographs of beauty, majesty and wonder; By National Geographic
The New Street Photographers Manifesto; by Tanya Nagar
Digital Photo magazine: Editor John Adams
Skyscrapers: A history of the World’s Most Extraordinary Buildings; Revised and updated by Judith Dupre and Adrian Smith
My Cool Shed: An Inspirational Guide to Stylish Hideaways; By Jane-Field Lewis
Light Science & Magic, An Introduction to Photographic Lighting; By Fil Hunter, Steven Biver and Paul Fuqua
The Elements Of Photography; By Angela Faris Belt
Photos for the future 2: Sutton publishing and The History
The Times picture collection- Explorers, a history in photographs: by Richard Sale and Madeleine Lewis

Copyright

All images are owned by me, Miriam Perritt, any person/s who use my work without my
authorization will face legal action.

Copyright Law
Issued: April 2000Last amended: 27th November 2009The UK copyright law fact
sheet outlines the Copyright, Designs and Patents Act 1988, the principal
legislation covering intellectual property rights in the United Kingdom and the
work to which it applies.Introduction Copyright law originated in the United
Kingdom from a concept of common law; the Statute of Anne 1709. It became
statutory with the passing of the Copyright Act 1911. The current act is the
Copyright, Designs and Patents Act 1988.Rights coveredThe law gives the
creators of literary, dramatic, musical, artistic works, sound recordings,
broadcasts, films and typographical arrangement of published editions, rights
to control the ways in which their material may be used.The rights cover;
broadcast and public performance, copying, adapting, issuing, renting and
lending copies to the public.In many cases, the creator will also have the
right to be identified as the author and to object to distortions of his
work.International conventions give protection in most countries, subject to
national laws.Types of work protectedLiterary song lyrics, manuscripts,
manuals, computer programs, commercial documents, leaflets, newsletters &
articles etc.Dramatic plays, dance, etc.Musical recordings and score.Artistic
photography, painting, sculptures, architecture, technical drawings/diagrams,
maps, logos.Typographical arrangement of published editionsmagazines,
periodicals, etc.Sound recordingmay be recordings of other copyright works,
e.g. musical and literary.Film video footage, films, broadcasts and cable
programmes.The Copyright (Computer Programs) Regulations 1992 extended the rules
covering literary works to include computer programs.When rights occurCopyright
is an automatic right and arises whenever an individual or company creates a
work. To qualify, a work should be regarded as original, and exhibit a degree
of labour, skill or judgement.Interpretation is related to the independent
creation rather than the idea behind the creation. For example, your idea for a
book would not itself be protected, but the actual content of a book you write
would be. In other words, someone else is still entitled to write their own
book around the same idea, provided they do not directly copy or adapt yours to
do so.Names, titles, short phrases and colours are not generally considered
unique or substantial enough to be covered, but a creation, such as a logo,
that combines these elements may be.In short, work that expresses an idea may
be protected, but not the idea behind it.Who owns a piece of workNormally the
individual or collective who authored the work will exclusively own the work
and is referred to as the ‘first owner of copyright’ under the 1988 Copyright,
Designs and Patents Act. However, if a work is produced as part of employment
then the first owner will normally be the company that is the employer of the
individual who created the work.Freelance or commissioned work will usually
belong to the author of the work, unless there is an agreement to the contrary,
(i.e. in a contract for service).Just like any other asset, copyright may be
transferred or sold by the copyright owner to another party.Rights cannot be
claimed for any part of a work which is a copy taken from a previous work. For
example, in a piece of music featuring samples from a previous work, the
copyright of the samples would still remain with the original author.Only the owner,
or his exclusive licensee can bring proceedings in the courts.Duration
of copyrightThe 1988 Copyright, Designs and Patents Act states the duration
of copyright as;For literary, dramatic, musical or artistic works70 years from
the end of the calendar year in which the last remaining author of the work
dies.If the author is unknown, copyright will last for 70 years from end of the
calendar year in which the work was created, although if it is made available
to the public during that time, (by publication, authorised performance,
broadcast, exhibition, etc.), then the duration will be 70 years from the end
of the year that the work was first made available.Sound Recordings and
broadcasts50 years from the end of the calendar year in which the work was created,
or,if the work is released within that time: 50 years from the end of the
calendar year in which the work was first released.Films 70 years from the end
of the calendar year in which the last principal director, author or composer
dies.If the work is of unknown authorship: 70 years from end of the calendar
year of creation, or if made available to the public in that time, 70 years
from the end of the year the film was first made available.Typographical
arrangement of published editions25 years from the end of the calendar year in
which the work was first published.Broadcasts and cable programmes50 years from
the end of the calendar year in which the broadcast was made.Crown
CopyrightCrown copyright will exist in works made by an officer of the Crown,
this includes items such as legislation and documents and reports produced by
government bodies.Crown Copyright will last for a period of 125 years from the
end of the calendar year in which the work was made.If the work was
commercially published within 75 years of the end of the calendar year in which
it was made, Crown copyright will last for 50 years from the end of the
calendar year in which it was published.Parliamentary CopyrightParliamentary
Copyright will apply to work that is made by or under the direction or control
of the House of Commons or the House of Lords and will last until 50 years from
the end of the calendar year in which the work was made.Restricted actsIt is an
offence to perform any of the following acts without the consent of the owner:Copy
the work.Rent, lend or issue copies of the work to the public.Perform,
broadcast or show the work in public.Adapt the work.The author of a work, or a
director of a film may also have certain moral rights:The right to be
identified as the author.Right to object to derogatory treatment.Acts that are
allowedFair dealing is a term used to describe acts which are permitted to a
certain degree without infringing the work, these acts are:Private and research
study purposes.Performance, copies or lending for educational
purposes.Criticism and news reporting.Incidental inclusion.Copies and lending
by librarians.Acts for the purposes of royal commissions, statutory enquiries,
judicial proceedings and parliamentary purposes.Recording of broadcasts for the
purposes of listening to or viewing at a more convenient time, this is known as
time shifting.Producing a back up copy for personal use of a computer
program.Playing sound recording for a non profit making organisation, club or
society.(Profit making organisations and individuals should obtain a license
from PRS for Music.)Useful addressesIntellectual Property OfficeConcept
HouseCardiff RoadNewportSouth WalesNP10 8QQTel: 0300 300 2000
begin_of_the_skype_highlighting 0300 300 2000 FREE
www.ipo.gov.ukPRS for Music29-33 Berners
StreetLondonW1P 4AATel. (0207) 580 5544www.prsformusic.comCopyright
Licensing AgencySaffron House6-10 Kirby StreetLondonEC1N 8TSTel. 020 7400 3100
begin_of_the_skype_highlighting 020 7400 3100 FREE
www.cla.co.ukFurther readingThe original text for
the 1988 Copyright Designs and Patent Act can be found at the OSPI (HMSO) website,
but should be read in conjunction with all the relevant updates and statutory
instruments.To avoid confusion, we recommend a copy that includes the
amendments since 1988, such as can can be found at the Office of
Public Sector Information, http://www.jenkins.eu/statutes/copyright.asp or
download as a PDF file directly from the Intellectual Property
Office.This fact sheet is Copyright © The UK Copyright Service and protected
under UK and international law. The use of this fact sheet is covered by the
conditions of a Creative Commons
Attribution-Non-Commercial-No Derivative Works License.This fact
sheet is intended only as an introduction to ideas and concepts only. It should
not be treated as a definitive guide, nor should it be considered to cover
every area of concern, or be regarded as legal advice

Monday, 17 March 2014

P&P-Part 4; Exercise 5; Selective processing and prominence

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