OCA Photography Blog: DPP-Assignment Four; Learning Log

Monday, 29 July 2013

DPP-Assignment Four; Learning Log

Learning log – DPP assignment 4; Real or fake

“One day PHOTOGRAPHY will become Photoshopy…..ORIGINALITY may disappear”

(Lakshman Iyer)

I decided to show two different quotes with regards to this Log, the first being a distain for Photoshop. This quote comes from a photographer who believes that Photoshop is used too much and to a degree, I agree with this. Although I have said in my assignment and exercises that manipulation is acceptable, I do also believe that you cannot beat a true image from a different perspective. However, I think we need both and with regards to the photography I like to take, which is landscapes, it is a preference with my images, that I make an image as good as I can through the lens, to capture the truest sense of the feeling within the photograph, on the other hand….

“I use Photoshop CS3 and Nik Efex…because a great picture of an ugly woman…is still an ugly woman”

(Mike Murillo)

With regards to this quote, which is not by a photographer and instead a race car driver, I also agree with this one, Photoshop is needed for the post production of the image and the image can still be the same, however, as I have previously stated, we do need completely manipulated images, as per the images that are used in advertising or artistry to enhance or coheres the photograph, to ensure the viewer is understanding the message behind it, as per the image below.

I have no idea who this image is by, I tried to find out, but it was seemingly impossible!. I do know that this image is for an advertisement and it was only titled ‘Feet’, but I have no idea for which company and as there was no script to go with it, I had to make up my own mind as to what it was trying to say. Looking at this image I instantaneously thought, it is about the footprint of destruction that humans have on the planet and in turn effects global warming. This is what I mean by manipulating an image to make the viewer see what you want them to see.

My Thoughts

This assignment was fun; it was interesting learning about the different tools in Photoshop and what you could do to create the desired result. I had to use my Adobe Photoshop instruction manual and I also needed help from other websites with the brush tools but I am happy with the desired result, it has also been good to think outside the box and explore a different thought process with regards to this controversial subject.

Strengths on my assignment

The strength on my assignment was; with regards to the final photograph, I had a specific image in my head and this was replicated exactly how I saw it. I am really happy with the end result and put a lot of time and effort in to achieving the goal that I wanted to achieve.

Weaknesses on my assignment

Was firstly the time it took me to get the desired result, secondly, it was the different mistakes I made initially to try and achieve the results I wanted, although, if you look at it in a different way, that could be a strength as I did not give up trying different techniques. I may still also like to make it look a bit more professional; however, my weakness is not knowing how to do that.

Some of my research sources-Books, websites and documents

Photo truth or Photo fiction?: Ethics and Media Imagery in the Digital Age by Thomas H. Wheeler (An interesting look in to manipulation through history and how it differs from today)
Portrait of a Young Girl by Mark Niemann-Ross (Rather than a book on direct fact, this is a fictional story of how Photoshopping and the ethics behind it effect the main character of the story, I used this to see if my perception on editing would be altered/influenced in a different way)
Faking it: Manipulated Photography Before Photoshop (Metropolitan Museum of Art) by Mia Fineman (This is an interesting one, showing how many images were manipulated before Photoshop, in general and the Media, how they did it and the images that were used
http://www.merriam-webster.com/dictionary/photoshop - (To find definition)
http://nocroppingzone.blogspot.co.uk/2007/11/ansel-adams-excuse.html - (An interesting view on manipulation)
http://en.wikipedia.org/wiki/Photo_manipulation - (To gain more factual information and images on manipulation)

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Books Used

Faking it: Manipulated Photography Before Photoshop
Portrait of a Young Girl by Mark Niemann-Ross
Photo truth or Photo fiction?: Ethics and Media Imagery in the Digital Age by Thomas H. Wheeler
The Art of Black and White Photography: Techniques for Creating for Creating Superb Images in a Digital Workflow by Torsten Andreas Hoffmann
Black + White Photography: all about modern monochrome by Elizabeth (ed) Roberts
Edward Weston (Photo Book Series) Terence Pitts
Ansel Adams at 100 by John Szarkowski
Understanding Exposure by Bryan Peterson
The Photographer’s Eye; Composition and Design for better Digital Photos by Michael Freeman
Mastering Digital Photography by Michael Freeman
The Digital Photography Workflow Handbook by; Juergen Gulbins and Uwe Steinmuller
The Elements Of Photography: Angela Faris Belt
Mastering Canon EOS Flash Photography: NK Guy
Light, Science & Magic: Fil Hunter, Steve Biver, Paul Fungua
The Photograph As Contemporary Art: Charlotte Cotton

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 end_of_the_skype_highlightingwww.ipo.gov.ukPRS for Music29-33 Berners StreetLondonW1P 4AATel. (0207) 580 5544 begin_of_the_skype_highlighting (0207) 580 5544 FREE end_of_the_skype_highlightingwww.prsformusic.comCopyright Licensing AgencySaffron House6-10 Kirby StreetLondonEC1N 8TSTel. 020 7400 3100 begin_of_the_skype_highlighting 020 7400 3100 FREE end_of_the_skype_highlightingwww.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, 29 July 2013

DPP-Assignment Four; Learning Log

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