Thursday, 24 September 2015

Readings: Photo Manipulation Effects

Social Comparison and Women's Body Satisfaction
Lilly F. Lin & James A. Kulik, 2010

"Exposure to pictures of thin-ideal female members of the media has been shown to reduce body satisfaction in women, which in turn has been implicated in various eating disorders.
Through computer manipulation, photos depicted the same woman's face with either a thin or oversize body shape. Results indicated comparison condition did not affect general self-esteem. However, exposure to the thin peer did reduce body satisfaction and confidence and, for those without a boyfriend, raised anxiety. Exposure to an oversize peer produced no compensatory, elevating effects on body satisfaction and confidence. Such an asymmetric comparison effect may contribute to the high prevalence of body dissatisfaction reported among women."


If Looks Could Kill: Digital Manipulation of Fashion Models
Shiela Reaves, Jacqueline Bush Hitchon, Sung-Yeon Park & Gi Woong Yun, 2009

"This study is concerned with the moral dilemma that stems from the digital manipulation of magazine ads to render models thinner. Exposure to the "thin ideal" has been linked to such damaging psychological responses as body dissatisfaction, loss of self-esteem, and ultimately to disordered eating behaviors. However, the artistic freedom of photo editors is a cherished value that conflicts with the concern for public health. Findings suggest that, although aware of the prevalence of digital editing, readers disapprove of its use in rendering models thinner, and judge it to be unethical and unfair. Findings are discussed with regard to the role of education in helping readers discount manipulated images."


"You Can Never Be Too Thin" – or Can You?: A pilot Study on The Effects of Digital Manipulation of Fashion Models" Body Size, Leg Length and Skin Colour
Shiela Reaves, Jacqueline Bush Hitchon, Sung-Yeon Park and Gi Woong Yun, 2004

"Waif-like fashion models in women's glossy magazines are hard to avoid for young women who are still forming their identities.
... psychological problems among young women.
Appearance is more salient for women than for men in developing a positive self-concept.
Problems of unreachable standards of beauty are now compounded by women trying to emulate not only the thin ideal but also photo-fakery.
They point out that magazine editors make a big assumption: 'the reader understands we are creating illusions'.
As a society we may need to recognise that technology has outpaced morality and so we need to educate our population to better interpret the products of that technology."


Visual truth in the digital age: Towards a protocol for image ethics
By Paula Roberts and Jenny Webber

"Advances in computer technology have now made the alteration of photographs and other images mostly impossible to detect, and image manipulation techniques are frequently applied by advertisers intent on deceiving the consumer, and by newspaper editors intent on influencing the opinions of readers, matters which challenge the ethical practice of photojournalism."


Digital Photo Manipulation: A Descriptive Analysis of Codes of Ethics and Ethical Decisions of Photo Editors
By Stephen Edwin Coleman, 2007

"The perfect body has become an obsession by consumers, leading magazines to deal with fashion or celebrity profiles and giving them the look they want. Fantasy has overtaken the reality of images being played out in the real world because the hyperimage has gone unchecked for decades."


The Impact of Media Exposure on Males' Body Image
By Daniel Agliata and Stacey Tantleff-Dunn, 2004


In Vivo Social Comparison to a Thin-Ideal Peer Promotes Body Dissatisfaction: A Randomised Experiment
By Pamela G. Krones, Eric Stice, Carla Batres and Kendra Orjada, 2005

Readings: Ozone Hole/Skin Cancer

Urban Ecology: An International Perspective on the Interaction Between Humans and Nature
Edited by John Marzluff, 2008


Climate change, ozone depletion and the impact on ultraviolet exposure of human skin
By Brian Diffey, 2003


The effects on human health from stratospheric ozone depletion and its interactions with climate change
By M. Norvala, A. P. Cullenb, F. R. de Gruijlc, J. Longstrethd, Y. Takizawae, R. M. Lucasf, F. P. Noonang and J. C. van der Leun, 2007


Ultraviolet radiation and skin cancer of humans
By Frederick Urbach, 1997

"photobiology"

Friday, 18 September 2015

Week 8 Gallery Visit


This was an installation by the same artist whose work we used in our Premiere Pro exercise. She stitched onto physical photographs and then rephotographed the image as she un-picked the stitches one-by-one. When creating the stop motion she reversed the order that she took the photos in so that it looks like the image is being stitched onto/being built up as you watch the projection.

I really like how she has projected, not just onto a plain wall, but actually onto something that helps add meaning and another dimension to her work.




I loved the simplicity of this work. The extreme close up allows the viewer a detailed, intimate view of something that most people will never get to see. The large scale of the projection also helps achieve that. The curious, innocent, and gentle way the owl moved helped the piece feel peaceful and enhanced the intimacy.



It was interesting to see how this artist had put tape on the lens of the projector to get rid of any overflow of light  on the wall that the image was being projected onto.

Week 8 Premiere Pro Exercise

We looked at how to put still images together in Premiere Pro to make a stop motion animation/video.




Make sure 'Capture Format' is set to 'HDV'

File - New - Sequence
Make sure it's on 'Digital SLR - 1080p - DSLR 1080p24'

Premiere Pro CC - Preferences - General

In the 'General' menu you can set how may frames per second you want all of the still images you import to be set at (duration)

Making a 'Box' to contain all the images

Export Format = H.264
Source Range = Entire Sequence

You can alter the Bitrate

Rendering

Adding Transitions

Marking Schedule

In trying to decide what I want my photographs to say and how I am going to achieve this, I decided it was a good idea to go back and look at the marking schedule for this assignment (off of the brief).



Sun Printing








Sun printing is a very interesting concept in relation to my topic, but unfortunately none of the stationery stores in Wellington supply the paper that you need in order to do a sun print.
I am considering trying to recreate the colours and style of sun printing on some of my photographs through digital manipulation to see what it looks like/if it adds anything to the meaning of the image.

Set Reading Week 7

Questions to consider about ‘Truth and Lies; On Digital Visions’ by Mariëtte Haveman


Why did Mariette Haveman write this article? (Not ‘What is is about?’ but what is the point of it? What does it do? You may need to read the whole thing before you answer this question).
She wrote this article to counter the arguments of many theorists who were concerned at how digitalisation was going to change photography and make it less truthful. She believes that photography has never been a media that cannot be manipulated, whether through actually manipulating the material photograph, or through staging the scene or choosing what to photograph. The article aims to show that photography will always continue to evolve (but also remain the same in some aspects), and that this has little to do with 'digitisation' but rather with consumer wants/needs, new practices etc.

What are some of the common concerns of theorists writing about the digitization of photographs in the 1990’s (pp.46-50).
Will we not be able to place even a small amount of trust in photographs anymore, even photographs that have already been taken, as any photograph could be doctored, 'Cultural history, political events, personal memories - all will be newly suspect while the photograph's long reign as society's high-tech but humble scribe becomes increasingly vulnerable', '[Abusive governments] will be able to manufacture their own suitably manipulated photographic versions of events' - Ritchin, 1990, 'This digitisation process redoubled the problem by further destabilising the bond the image had with time, memory and history' - Timothy Druckrey, 1991, we will be able to distort reality in photographs (brings up ideas of photographic truth), '... the reflection of reality reveals to us less about that reality than ever before' - Walter Benjamin, from Kleine Geschichte der Photographie
That we are so bombarded with imagery of bad things everyday that we become desensitised to it, 'The vast photographic catalogue of misery and injustice throughout the world has given everyone a certain familiarity with atrocity, making the horrible seem more ordinary - making it appear familiar, remote ("it's only a photograph"), inevitable' - Susan Sontag, 1977

How does Haveman counter these arguments?
Photographs have always been being 'manipulated'
Manipulation is more common now because of marketing and audience expectations rather than just because of digitisation

What are some of the ways photographs could be ‘manipulated’ prior to digitisation? (Pp. 50-51).
Retouching Reality: Staging photographs, only showing the prettiest/happiest scenes
In the Darkroom: Cropping, softening exposure, making selections etc

How does digitisation impact on different branches of photography?
"The answer to that question can vary considerably, according to the particular branch of photography."
Photojournalism/News Photography: They can now tidy up photos to make them more 'pretty', photographs shift even further away from 'reality'
War Photography: Concerns about 'truth' and ethics
Art Photography: Allowed them to more easily express themes and ideas they were already trying to express with analogue photography
Advertising Photography: Used to make things appear more appealing and to make things look like reality
Sports Photography: Photos can be deleted while at the event to free up more space on memory cards, therefore photographers can be taking photos constantly in order to get the best, most interesting shot

What effect have digital cameras had on the archiving of photographic images? (p.52).
We now archive far less images. We don't have hundreds of contact sheets or rolls of negative film, we can now delete images directly off of the camera as we go. Fewer pictures actually reach the printing stage. And often when digitally archiving pictures we select only the 'best' to save memory space.

What is Haveman’s argument about the effect of digitisation on images in the press?
Images were becoming cheaper and easier to source. Newspapers and magazines started using large scale colour photographs to catch the eye/attention of passers-by/potential buyers. Photographs started to accompany news stories to make them more meaningful and striking, but this turned into making events more beautiful and aesthetically pleasing than they were in order to appeal to viewers.

What other interesting points does Haveman make?
I found the points about staged photography interesting - "Was that man really standing there or did the photographer ask him to go and stand there?"
I agreed with the argument that we are becoming desensitised to horrible images of human's or nature's suffering because we are surrounded by these images everyday of our lives.
Photographs corrupt our view of reality.
I thought it was interesting that many of the writers seemed to think that non-intellectuals cannot see through the strategies of photography, when I think society as a whole does know that photographs do not equal reality - yet we often choose to overlook it.


Friday, 11 September 2015

More Articles about the Ozone Hole

http://www.bbc.com/news/science-environment-29152028
http://www.theweathernetwork.com/news/articles/earths-protective-ozone-layer-is-on-the-road-to-recovery-un-report/36115/
http://www.abc.net.au/environment/articles/2015/02/17/4181729.htm

Skin Cancer Diagrams


Retrieved from http://www.pinkbeachtan.com/skin_cancer_faq.php

Retrieved from http://www.dreamstime.com/stock-illustration-melanoma-skin-cancer-rare-type-originates-melanocytes-layers-human-image47972310

Week 6 Presentation Feedback

Shaun gave us back our feedback forms from the presentation we gave in Week 6.

The form Shaun filled out.

The form I filled out.

Week 7 Scanner Tutorial

EPSOM 700 Scanners are the ones in 6B01


Mode: Professional

Document Type: Transparent - for negatives, Reflective - for everything else (make sure the white thing is in the top of the scanner not just glass for reflective)


Hit the preview button to preview your scan. A new box will open with your preview in it. Chose your crop in the preview window.

Resolution: Anything above 300dpi (if you will be increasing the size of the image have a larger dpi)

Configuration: Source = EPSOM Standard, Target = Adobe RGB


You can adjust the Histogram to get a better output


Week 7 Masking Hair Exercise

Original Image.

After making a selection, go to Select - Refine Edge to clean up the edges of your selection.
This is how you can pick up messy or fly-away hair as part of your mask.
Adding in a new background.


Original Image.

When you open Camera Raw the first thing you should adjust is the Lens Correction.
The second thing you should do when you first open Camera Raw is tick 'Remove Chromatic Aberration'.
After that you can then go ahead and adjust the Temperature, Exposure, Highlights and Shadows etc.
Create a Layer Mask using the selection tools and Refine Edge. Then apply that to a new Hue/Saturation layer, invert the selection, and adjust the saturation.
The background is now less saturated to make it contrast more with the foreground.

Thursday, 10 September 2015

Photoshoot 4 - 10/9

These are the untouched photographs from my studio photoshoot.
Working with the projector, it was really hard to get enough light so that you could see the model - while also having it dark enough to see the projection.
I really like the few images I took of my last model where I had some back-lighting, so I think I might need to do another photoshoot and use this technique to help illuminate the model while still having the projection.