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Dark Heather

Keeping up with Digital Imaging

The process of total automation of picture making is now virtually complete, with most cameras having means of automatic focusing, exposure determination, flash and film advance. The simplicity of use disguises the complexity of the underlying mechanisms, mostly based on microchip technology.

 

Advances in Digital Imaging: There have been significant advances in the properties and use of electronic flash as a light source on a digital camera, with complex methods of exposure determination and use of flash in auto-focusing. The introduction of new optical materials and progress in optical production technology as well as digital computers for optical calculations have produced efficient new lens designs, particularly for zoom lenses, as well as the micro-optics necessary for auto-focus modules. Both input and output of image data have been substantially revised to reflect the changes in technology and the wide range of choices in media and systems for producing pictures. More emphasis is now placed on electronic and hybrid media in the new digital age. Like digital cameras, the production of hard copy is settling down but there are a number of different solutions to the production of photographic or near photographic quality prints from digital systems in the desktop environment.

 

Camera Design: Camera design has progressed, with new film formats introduced and others discontinued. Although capable of a surprising versatility of use, special purpose cameras still find applications. Digital cameras are not constrained by traditional camera design and many innovative types have been introduced, with the technology still to settle down to a few preferred types. Large format cameras use most of the new technologies with the exception to date of autofocusing. The use of an ever increasing range of optical filters for cameras encourages experimentation at the cameras stage with their digital counterparts becoming increasingly popular.

 

The nature of the material covered in our Basic to Advanced Photography 101 to 201 Premium Campus Course lists a number of lessons in digital and film photography. This means that some important mathematical expressions are included. However, it is not necessary to understand their manipulation in order to understand the ideas of these lessons.

 

The aims of all our lessons are the same as those of previous lessons which are: to provide accessible and authoritative information on most technical aspect of whatever subject you are studying then breaking it down and making it easy for you to understand; to be of interest and value to students, amateurs, professionals, technicians, computer users and indeed anyone who uses photographic and digital systems with a need for explanations of the principles involved and their practical applications.

 

 

Imaging systems – The production of images

 

Currently, it has been estimated that around 70 billion photographs are produced annually worldwide and images are being produced at a rate of 2000 per second. Imaging is in a very rapid period of change and transformation. In the early 1980s there existed a single prototype electronic still camera and the desktop personal computer had just been invented but was yet to become popular and in widespread use.

Currently, personal computers are almost everywhere, there are more than 125 digital cameras commercially available and new models are being released at ever-decreasing intervals in time.

At the opening of the twenty-first century it is suggested that there are 120 million multimedia personal computers and approximately30 per cent of users envisage a need for image manipulation.

 

Digital photography or imaging is now an extremely significant mode involved in the production of all types of images and is currently the most widely used medium for producing images world wide.

 

However, the production of photographs by the conventional chemical photographic system is still an efficient and cost- effective way of producing images and is carried out by exposing a film, followed by a further exposure to produce a print on paper. This procedure is carried out because the lighter the subject matter the darker the photographic image. The film record therefore has the tones of the subject in reverse: black where the original is light, clear where the original is dark, with the intermediate tones similarly reversed. The original film is therefore referred to as a negative, while a print, in which by a further use of the photographic process the tones of the original are re-reversed, is termed a positive. Popular terminology designates color negative films as color print films. Any photographic process by which a negative is made first and employed for the subsequent preparation of prints is referred to as a negative positive process.

 

It is possible to obtain positive photographs directly on the material exposed in the camera. The first widely used photographic process, due to Daguerre, did produce positives directly. The first negative positive process, due to Talbot, although announced at about the same time as that of Daguerre, gained ground rather more slowly, though today negative positive processes are used for the production of the majority of photographs. Although processes giving positive photographs in a single operation appear attractive, in practice negative positive processes are useful because two stages are required.

 

In the first place, the negative provides a master which can be filed for safe keeping. Who thought of that?Secondly, it is easier to make copies from a transparent master than from a positive photograph, which is usually required to be on an opaque paper base.

 

Also, the printing stage of a two-stage process gives an additional valuable opportunity for control of the finished picture. However, in professional work, especially color, it has been the practice to produce transparencies,,or direct positives, from which printing plates can be made for subsequent photo-mechanical printing. If you’re a photographer who loves the art but isn’t interested in the creative of the final image through manipulation or mathematical methods then maybe you’re not loving your art? As for me, I find it hard to pass up the chemicals in the camera store remembering the days of old, the film development methods for creating works of art. Remember the DayLabs? I think those are still on the market. How easy were those to use and you could easily assemble a darkroom in a utility room providing it was near water.

Reference http://www.newbrightapples.com

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