ERIC ED370592: Fun and Games with Photoshop: Using Image Editors To Change Photographic Meaning.

10 Pages·1993·0.25 MB·English

by  ERIC

DOCUMENT RESUME
ED 370 592
IR 055 045
AUTHOR
Croft, Richard S.
TITLE
Fun and Games with Photoshop: Using Image Editors To
Change Photographic Meaning.
PUB DATE
93
NOTE
10p.; In: Visual Literacy in the Digital Age:
Selected Readings from the Annual Conference of the
International Visual Literacy Association (25th,
Rochester, New York, October 13-17, 1993); see IR 055
055.
PUB TYPE
Reports
Descriptive (141) -- Speeches/Conference
Papers (150)
EDRS PRICE
MF01/PC01 Plus Postage.
DESCRIPTORS
*Computer Software; Copyrights; *Editing; *Ethics;
*Nonverbal Communication; *Photographs; Technological
Advancement; *Visual Literacy
IDENTIFIERS
*Digital Technology; Digitizing
ABSTRACT
The introduction of techniques for digitizing
photographic images, as well as the subsequent development of
powerful image-editing software, has both broadened the possibilities
of altering photographs and brought the means for doing so within the
reach of many. This article is an informal review of the ways
image-editing software can be used to improve photographic
communication. Image-editing software permits the correction of
phltographic faults by providing simple means for cropping, adjusting
brightness, contrast, and color balance, and retouching. A number of
techniques are now available for focusing viewer attention on part of
the photograph or for simplifying the subject by eliminating detail.
Meaning can be added through color changes, annotations, enlargement
of areas, and composition of drawn or other photographic elements
with the original. Ethiial concerns have acquired new importance with
the possibilities for changing meaning through editing and with the
ease with which copyrighted works can be copied. Six figures
illustrate some of the techniques. (SLD)
***********************************************************************
Reproductions supplied by EDRS are the best that can be made
from the original document.
***********************************************************************
Of Eoucancos
U.S. OEPASTOENT
Research and improvement
otfice of Educahonst
RESOURCES INFORMATION
EDUCATIONAL
CENTER (ERIC)
reproduced as
has been
organtiahon
r Trus document
person or
reeewed horn the
onynattn ot
to (mprove
have been made
C Mrnor changes
reoroduChOn [Wahl',
tilts docu.
.5:11
othrhonS Stated tn
othctat
po.nts of v(ew -..
SW
.lecesSanly represent
tt,
ment do no.
or pohcy
OEFU POStoOn
111
Fun and Games with Photoshop:
Using Image Editors to Change
Photographic Meaning
by Richard Croft
Virginia Tech
455 Hemlock Street
Christiansburg, VA 24073-3860
"PERMISSION TO REPRODUCE THIS
MATERIAL HAS BEEN GRANTED BY
Alice Walker
2
TO THE EDUCATIONAL RESOURCES
INFORMATION CENTER (ERIC)."
BEST COPY AVAILABLE
Fun and Games with Photoshop:
Using Image Editors to Change
Photographic Meaning
Richard S. Croft
be certain of obtaining a photograph
Introduction
which clearly and concisely carries
Modification of photographs to
the desired meaning. However, by
enhance or change their meaning is
using a package like Adobe Photo-
nothing new. However, the introduc-
shop, we can make changes to
an
tion of techniques for digitizing pho-
available photograph to increase the
tographic images and the subsequent
likelihood of the viewer interpreting
development of powerful image edit-
the message as we intend. Types of
ing software has both broadened the
image modification possible include
possibilities for altering photographs
improvements to the aesthetic quality
and brought the means of doing
of the picture, techniques for focus-
so
within the reach of anyone with
ing the viewer's attention, methods of
imagination and patience. Those who
simplifying the subject, ways of add-
wish to convey a message using pho-
ing meaning to the image, and trans-
tographs
now have greater means
formations which completely change
than ever before of assuring that the
the meaning of the image. The fol-
communication will be clear.
This
lowing sections briefly discuss each
article is an informal
survey of the
type of modification, and Aow exam-
ways that we can use image editing
ples of some techniques for
accom-
software
improve photographic
to
plishing each kind of change.
communication.
Improving Image Quality
Educators, among others, find
themselves wishing to use the
power
A photograph that lacks aesthet-
of visual communication, but cannot
ic quality may prove ineffective in
If the
frame with the subject. However, at
communicating a message.
if the
times the remaining background may
distracting,
is
composition
still be too distracting. Under these
"muddy," or if the colors
image is
conditions, an image editor provides
seem unnatural, the viewer may not
the means of selectively altering ei-
interpret the image correctly (or may
not even look at it).
the
subject
or
ther
the
main
Also, photo-
graphs may suffer defects resulting
from dust on the negative during
printing or damage to the film emul-
sion. Standard darkroom techniques
can remediate any of these problems,
but they require considerable skill
and practice. Image editing software
allows corrections to all of the listed
faults by providing simple means for
cropping, adjusting brightness and
contrast, adjusting color balance, and
(painting away defects
retouching
like dust spots).
Figure One illustrates the use of
cropping to improve composition by
filling more of the viewing area with
the subject of the picture and also
the effects of adjustments to bright-
ness and contrast. (Since this article
is printed in black and white, it will
include no
requiring
illustrations
color.)
Focusing Viewer Attention
When it is necessary to direct
the viewer's attention to a specific
element of a photograph, without
completely losing the context, one
Figure One: A photograph before cropping
may use one of a number of tech-
(top), after cropping (canter) and after
niques. The most straightforward is
adjusting brightness and contrast (bottom).
to simply crop the image to fill the
remainder of the image to provide
Putting the foreground subject in
a
emphasis to the desired focal point of
new background is effective only if
the picture.
Some techniques
the new background is
are:
truly ap-
darkening the background, blurring
propriate. Figure Two shows several
the background, tinting the back-
of these techniques applied
to a pho-
ground, removing color from the
tograph of a pelican
on a dock.
background of a color image,
or
Simplifying the Subject
changing the background completely.
The choice of which technique
Depending on the precise
mean-
one uses to emphasize the subject of
ing we wish a photograph
to convey,
a photograph will depend on the pre-
it is at times useful to
remove some
cise circumstances. Tinting
a back-
detail from the subject, leaving only
ground is effective, but the results
those which are of interest. Image
may look unnatural. Blurring a back-
editors provide a variety of tools for
ground looks more natural, but if
removing details, so that
one may ei-
there are any details of secondary
ther cut the subject out of the picture
importance, this may obscure them.
for
placement
a
on
neutral
bk
.401011111111-1111111.,worallIlli
1NK
Figure Two: Focusing Viewer Attention. Before
(upper left), blurred background
(upper right), darkened background (lower
left), and new background (lower right).
5
BEST COPY AVAILABLE
background; remove color (which
called faceting); reduce the image to
may be distracting if the important
a line drawing; or even convert it to a
details are form and pattern); blur
silhouette.
interior lines, leaving only form and
Knowlton (1966) describes a
general
coloration
procedure
(a
taxonomy of visual
representation
based on the fidelity an image has for
each of three attributes: elements in-
pattern, and connections.
cluded,
Techniques for simplifying a photo-
graphic subject all involve maintain-
ing realism (high fidelity) in at least
one of the image attributes while re-
ducing fidelity in one or both of the
other two. Figure Three presents the
pelican from Figure Two simplified
in several of the ways described in
the preceding paragraph.
Adding Meaning
While at times one may need to
remove detail from a photograph,
there are also occasions that mandate
the addition of information to suc-
cessfully
communicate.
For
in-
stance, one may add color to a
monochromatic image of a deep-sea
fish to show how it looks beforn it is
brought out of the water. Other ex-
amples of adding meaning include
annotations, enlarging of parts of the
image, and compositing of drawn or
photographic elements with the origi-
nal photograph.
Figure Three: Simplifying. Top: A cut out
Annotation can take the form of
image. Middle: Line drawing from the
same photograph. Bottom: Silhouette from
text or lines and arrows, and provides
the same photograph.
clear
a
emphasizing
method
of
Sugar Maple
Red Maple
ALA
.
Figure Four: Adding meaning by using annotations.
specific parts of an image or simply
additional text annotation explains
identifying the image. Figure Four
the enlargement.
shows two maple leaves with a textu-
Composite images
are
useful
al annotation identifying them as be-
when we desire to illustrate with
longing to different species.
photographic realism some event or
Enlarging a portion of a photo-
object that simply cannot be photo-
graph can be very helpful in empha-
For example, an illustra-
graphed.
sizing specific details that might be
tion of an animal's skeleton with a
difficult to distinguish in the original
"ghost" image of the live creature
su-
perimposed, or a
image, while maintaining ample con-
"photograph" of
Figure Five shows the same
text.
some historical event predating pho-
pair of maple leaves shown in Figure
tography, may both be accomplished
Four, with a portion of the leaf mar-
using digital composites.
To illus-
gins enlarged to illustrate the differ-
trate the "living skeleton" would re-
ence between the two leaves. An
quire a photograph of the skeleton
Figure Five: Adding meaning by enlarging parts of the image and annotating.
composited with a partially transpar-
radical differences in content.
For
ent drawing or photograph. The his-
instance, cropping a photograph of a
torical
scene
would
man wielding a hammer may convert
involve
compositing photographs of models
a carpenter into a much more sinister
figure, and the careful addition of
(or actors) in appropriate dress with
drawn or photographed elements.
another human figure in the ham-
Figure Six shows the creation of a
mer's path will finish the job. A per-
son who makes significant changes
photographic interpretation of an ear-
ly effort to ride over Niagara Falls in
in a photograph's meaning may do so
a barrel.
purposes
the
for
advertising,
of
deception, artistic expression, or a
Changing Meaning
combination of any of these.
All of the previously described
Ethical Considerations
result
transformations
in some
change in a photograph's meaning.
One immediate concern in the
to make
possible
scanners,
it
However,
age
of
is
which
quickly
8
;
.-:
c.f., 1.i
-
dl '
'
-ez:
Et
4-
Jr,
'
-
r
f-
"
.2
,
_Abair AIM
7
.
...111111Norrilut
A.
11-- ::....j
-
4.7
-.oat Ar.,
4716.
-
t
.
I mew--
1' A
,...,
,..,A,
if'
.
grr o'
...
,,4=",e,',"-
.".'
I..
',
,
c
ilk e
/
.
; ,
s:
-
'C'
,.
t.-
e
-
te
ii
..., .,
A v
A t
'
"
-
x
,
.1.
.
' so
t._
...
IV
,'
,,
iz,'
.-
.
,
,,,-t
v
.0,?.. li
'
*1
I
Figure Six: Creating a simple composite to simulate
a "Barrel over Niagara Falls"
incident. The barrel was painted in
a separate graphics program. The last image in Figure
Two shows another composite using all photographic elements.
9
BEST COPY AVAILABLE
convert any artwork into a digital
almost anything with a "photograph."
that of copyright.
While this new flexibility and power
Even
form,
is
can be used to further education and
thOugh one may be able to easily ob-
communication, they also hold po-
tain an image from any publication, it
is important to remember that use of
tential for great misuse. Ethical prac-
copyrighted photographs without the
titioners will use them with care.
owner's permission is illegal.
Caveats
A more subtle concern is related
The originals of the images ap-
to the confidence many viewers have
in photographic images. The degree
pearing in this paper are color photo-
graphs belonging to the author, and
of realism which digital composites
may exhibit is both impressive and
were included in a presentation giv-
frightening, owing to the traditional
en at the IVLA 1993 Conference.
faith in photographic veracity.
For
The poor quality of the pictures
this reason, one must consider care-
is an artifact of the printing process
fully how one applies changes in
and not due to digitizing and edi-
meaning, and if (for instance) one
ting.Novice users should note that
uses image editing to "recreate histo-
image editing software requires fast
ry" as described earlier in this paper,
desktop computers with greater-than-
it must be clear to the viewer that the
average memory and disk space. Fur-
image is indeed an illustration, and
thermore, while many of the adjust-
not a record made at the time of the
ments used to improve image quality
event.
are easy to learn (cropping, bright-
ness and contrast, color balance),
Conclusion
more sophisticated
transformations
require considerable time to learn.
The introduction
desktop
of
technology greatly increases the pos-
For effective use of any of the meth-
for photographic commu-
sibilities
ods outlined in this paper, a thorough
Even a person who does
understanding of photographic prin-
nication.
not have thJ time, equipment, or ex-
ciples is helpful if not essential.
perience to make a photograph speak
References
clearly should be able to find some-
one who does have the equipment
Knowlton, J. Q. (1966). On the definition of
and expertise. Given familiarity with
"Picture." AV Communication Review
the possibilities and sufficient imagi-
(14) 2, 157-183.
nation, one may now communicate
10