Fotografujemy Akwarium(1), AKWARIUM
Fotogea 2010. 03, fotografia, Magazyn FotoGeA 2010
Fotogea 2010. 01, fotografia, Magazyn FotoGeA 2010
Fotogea 2010. 02, fotografia, Magazyn FotoGeA 2010
Fotogea 2010. 11, fotografia, Magazyn FotoGeA 2010
Fotogea 2010. 12, fotografia, Magazyn FotoGeA 2010
Fotogea 2011. 04, fotografia, Magazyn FotoGeA 2010, 2011
Fotogea 2011. 03, fotografia, Magazyn FotoGeA 2010, 2011
Fotogea 2012. 09, fotografia, Magazyn FotoGeA 2010, 2012
Fotogea 2011. 01, fotografia, Magazyn FotoGeA 2010, 2011
Fotografia-światło, fotografia
[ Pobierz całość w formacie PDF ]digital photography
in available light
third edition
mark galer
AMSTERDAM • BOSTON • HEIDELBERG • LONDON • NEW YORK • OXFORD
PARIS • SAN DIEGO • SAN FRANCISCO • SINGAPORE • SYDNEY • TOKYO
Focal Press is an imprint of Elsevier
essential skills
Focal Press is an imprint of Elsevier
Linacre House, Jordan Hill, Oxford OX2 8DP
30 Corporate Drive, Burlington MA 01803
First edition as Location Photography: Essential Skills 1999
Reprinted 2000
Second edition 2002
Third edition 2006
Copyright © 1999, 2002, Mark Galer. Published by Elsevier Ltd. All rights reserved.
Copyright © 2006, Mark Galer and Philip Andrews. Published by Elsevier Ltd. All rights reserved.
The right of Mark Galer and Philip Andrews to be identifi ed as the authors of this work
has been asserted in accordance with the Copyright, Designs and Patents Act 1988
No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form
or by any means electronic, mechanical, photocopying, recording or otherwise without the prior written
permission of the publisher
Permissions may be sought directly from Elsevier’s Science & Technology Rights Department in Oxford,
UK: phone (+44) (0) 1865 843830; fax (+44) (0) 1865 853333; email: permissions@elsevier.com.
locate/permissions, and selecting Obtaining permission to use Elsevier material
Notice
No responsibility is assumed by the publisher for any injury and/or damage to persons
or property as a matter of products liability, negligence or otherwise, or from any use
or operation of any methods, products, instructions or ideas contained in the material
herein.
British Library Cataloguing in Publication Data
A catalogue record for this book is available from the British Library
Library of Congress Cataloguing in Publication Data
A catalog record for this book is available from the Library of Congress
ISBN 13: 978 02405 2013 1
ISBN 10: 02405 2013 0
For more information on all Focal Press publications visit our website at:
www.focalpress.com
Printed and bound in Italy
Acknowledgements
Philip Andrews would like to thank Karen, Adrian and Ellie and the great guys at Kaidan and
Realviz for their support.
I would like to pay special thanks to Philip Andrews, John Child, Andrew Fildes and Michael
E. Stern for their editorial input and to Orien Harvey for many of the wonderful images used to
illustrate the text. I would also like to thank the students of RMIT University and PSC Melbourne
who have also kindly supported this project with their images. I would also like to pay special
thanks to my wife Dorothy - without whom this book would never have seen the light of day.
Thank you.
Picture Credits
Ansel Adams (Ansel Adams Publishing Rights Trust/Corbis), Paul Allister, Shane Bell,
John Blakemore, Ricky Bond, Dorothy Connop, Tamas Elliot, Walker Evans (Walker
Evans Archive, The Metropolitan Museum of Art) , Andrew Goldie, Andy Goldsworthy,
Orien Harvey, John Hay, Wil Hennesy, Itti Karuson, Sean Killen, Dorothea Lange, Jana
Liebenstein, Michael Mullan, James Newman, Kim Noakes, Matthew Orchard, Ann
Ouchterlony, Rod Owen, Stephen Rooke, Michael Wennrich, Amber Williams.
All other images by the authors.
m
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contents
Introduction
ix
Digital Cameras
1
Megapixels
2
The need for speed
4
Prosumer digicams - closing the gap?
5
Choosing a system
8
Check list overview
18
Asset Management
19
Workfl ow sequence
21
Conclusion
36
Exposure
37
Introduction
38
Intensity and duration
40
TTL light meters
44
Interpreting the meter reading
46
Reading exposure levels
48
Camera RAW
53
Processing RAW data
55
Processing activity
55
White balance
55
Tonal adjustments
56
Noise reduction and sharpening
58
Choosing a bit depth
59
Choosing a color space
61
Save or open
61
Additional information
62
iv
Foreword
xi
Introduction
2
Digital asset management
20
Introduction
54
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