Σ.E.A. 'ΤΗΘΥΣ' - Επεξεργασία ψηφιακής φωτογραφίας: Η φιλοσοφία

Εαν δε σας ενοχλεί που είναι στα Αγγλικά, αξίζει η ανάγνωση του παρακάτω 17σέλιδου κειμένου με τίτλο Rendering the Print:the Art of Photography που εξηγεί αναλυτικά τα περί σύλληψης του φωτός από το φιλμ και τους ψηφιακούς αισθητήρες, τα περί επεξεργασίας και εκτύπωσης της φωτογραφίας, του φωτογραφικού αποτελέσματος γενικότερα.

Για όσους θα ήθελαν δηλαδή βιβλιογραφία στα όσα έγραψε ο Φοίβος εδώ! ;)

Αντιγράφω μάλιστα ένα κομμάτι που αφορά στην Αντίληψη (γνωρίζω ήδη κάποιους που θα το λατρέψουν !).

---------------------------------------------

Perception

Human perception of a scene is very different than taking a picture (see Perception sidebar.) What parts we remember, what we deem important, and how it made us feel, are all subjective. Individuals presented with the same scene will remember and describe it very differently. The way each individual perceives a print is also unique. Listen to the comments at an art opening.
Rendering the extreme dynamic range of reality onto a print is dependent on an individual’s response to the original scene. Imagine a scene with a boat in the fog, and the sun just peeking out (see Figure 7). One person—an artist—may remember the scene as very soft, low contrast, with little detail, and an ethereal feel. Another person—a sailor—may have spent far more time with their eye lingering on the boat. This viewer may have recognized the boat’s maker, the crew, and the fact that it was in the process of changing course. This person might very well pump up the contrast for the boat because that’s what they remember seeing. The sailor may have also experienced the ethereal soft impression, but would apply more weight to the boat in their version
of the rendering.

...

If we recognize fear in a face, we may start scanning the scene for danger. If we really like the face we may not look at much else. When we do look elsewhere, we may have a more favorable impression of what else we see. The effect of various elements “colors” our perception of the individual elements. How we remember those elements will be affected by our emotional response.
This is only a brief glimpse at some the systems that govern our perception. Where we look, what we see, and what we remember, is nothing like taking a picture. Human factors govern our response to a scene, our memory, and the priority we place in its elements. If we want a photographic print to evoke the emotional response of our experience, the image data must be altered to compensate for the perceptual attenuation not reproduced by the photographic process. It’s this translation of the image that makes photography an art rather than science.

...

What digital point-and-shoot technology has given us is a better average photograph. The rendering of most pictures is pleasing and recognizable, with very little intervention. What it can’t do is perceive the scene as we do. The picture of the boat in a fog will always be grey, very low contrast and flat. The camera will never accentuate the contrast of the sail. When the sail flapped in the wind, the edge contrast was enhanced in our minds eye. The camera didn’t see this. We were standing on shore under the canopy of a forest, and the dark surround made the flat scene in front of us feel bright and luminous. The camera did not feel this way.

So you may ask the question, can’t we just fix the JPEG?

---------------------------------------------

[από το Rendering the Print:the Art of Photograph, του Karl Lang]