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Clawson - IPhoneography : how to create inspiring photos with your smartphone

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IPhoneography : how to create inspiring photos with your smartphone
Author:
Clawson / Michael
Publisher:
Apress, Berkeley, CA
Genre:
Books / Home and family
Year:
2015
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This book introduces you to professional photography and composition principles, tricks and techniques of iphoneography, photosharing, and more.
Do you have a smartphone with you right now? If you do, along with this book, youve got everything you need to make amazing photography.
The first three chapters of the book use digital photography history to give you an overview of the capabilities that you can employ, and the remainder of the book is focused on hands on techniques of iphoneography so that you are getting professional results.
This title uses the iPhone and iPhone apps in its examples; your own smart phone and individual apps may be different, but the techniques youll gain from this book, and the insights into your own creative potential are not dependent on specific equipment.
Maybe you occasionally take a great shot with your smartphone camera but you wonder what you need to keep doing right to make that kind of difference in all your shots. Maybe youre suspecting that you no longer need to lug around a DSLR camera to bring home great photographs. And maybe you just get a charge out of capturing inspired moments and sharing them in all the glory deserve with others.
WHAT YOULL LEARN:
An understanding of the methods used in DSLR photography vs iPhoneography. The connection between the iPhone and the artist. Practical tips and techniques for creating photos and art with your iPhone. Taking your visions further with discovery and chance explorations. Connecting with the iPhoneography and iPhone Art community.
WHO THIS BOOK IS FOR:

The audience is threefold:

1.) Amateur photographers who already sense that their smartphone is the only tool they truly need in order to grow their skills

2.) Serious photographers who are part of the growing mobile art movement that emphasizes creative eye over hardware

3.) Anyone with a smartphone who wants to take better photos (because anyone with a smartphone is already taking photos with regularity anyway)

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Part I
The Digital World Reshapes and Disrupts

Abstract

The computer revolutionized desktop publishing and creativity. Here, Ill present a brief overview of how tools like Photoshop evolved, and how digital photography, once seen as limited, soon gained ground in many creative industries.

The Digital World Reshapes and Disrupts

Creativity is just connecting things. When you ask creative people how they did something, they feel a little guilty because they didnt really do it, they just saw something. It seemed obvious to them after a while. Thats because they were able to connect experiences theyve had and synthesize new things.

Steve Jobs

Part I will discuss the transformation from DSLR cameras and desktop editing to the iPhone and iPhoneography.

Michael Clawson 2015

Michael Clawson iPhoneography 10.1007/978-1-4842-1757-3_1

1. The Digital Darkroom Is Born

Early Software and Hardware That Started The Digital Photography Revolution

Michael Clawson 1

(1)

CA, US

I never experienced the original darkroom That darkroom made of chemicals - photo 1

I never experienced the original darkroom. That darkroom made of chemicals, papers, processing tanks, safe lights, enlargers, and the like. The first darkroom I experienced was digital, right inside my computer. In fact, it was a program actually named Digital Darkroom, which was created in 1987 by Silicon Beach Software. What made Digital Darkroom so special was its ability to edit gray-scale images, something Apples MacPaint couldnt do at the time. Though Digital Darkroom was limited to black and white images, it set the stage for the transition from the analog darkroom into digital.

I remember playing with Digital Darkroom at the computer store where I worked during college in the late 1980s. (Figure ) We had it set up on a Mac II with 4 MB of RAM, a 40 MB hard drive, an Apple 13 inch color monitor, and Apple Scanner. The equipment sprawled across an entire desktop, literally. A set up like this was not cheap; easily up to $10,000. Far more expensive than a traditional darkroom at that time, and not as versatile when compared to its limited features for photo development, processing and editing. Yet, this was the new direction photography would evolve from in the years to follow.

Figure 1-1.

Dialog Box for Digital Darkroom. Source: MacTech

At that time, the process was simple: place a photo on the scanner and import it into the computer via scanning software. You would typically start with a preview scan in order to get a sense of your final result before you tweaked the settings and adjustments prior to the final import. And, you could only work with gray scale images, since the first scanners didnt support color scanning. On Macs that didnt support a higher gray scale or color display depth, the image was dithered in black and white (1-bit) on the display. You could still work with the image and make some adjustments, but it was difficult to get a true sense of what you had done to your image until you printed it out on something like an Apple LaserWriter PostScript printer.

From Display to Photoshop

Around the same time that Silicon Beach Software introduced Digital Darkroom, other companies like SuperMac, offered competing image processing apps. Also at that time, two brothers, Thomas and John Knoll, (Figure ) whose father had taught them traditional dark room techniques in his basement darkroom, began exploring a program they first called Display.

Figure 1-2.

John and Thomas Knoll. Source: Resource Magazine Online

It turns out that Thomas Knoll, who was studying image processing for his Ph.D. at the University of Michigan in the late 80s, was frustrated at the lack of display depth in the early 1-bit Macintosh computers, and therefore created a custom program on his Mac Plus to deal with this deficiency. Thomas brother, John, who worked at Industrial Light and Magic (ILM), soon discovered that his brothers program shared similarities to the custom programs he used on the job. With this common bond, the brothers set out to develop a new program that they named, Display. John later purchased a Mac II workstation, which opened the doorway to the development of advanced imaging features like gamma correction, file format conversions, and tone adjustments (i.e. levels) just to name a few. It was not long before the two realized they actually had something in terms of a viable image-editing program, which set them on a course to sell their invention to a willing buyer.

As the program developed, the brothers changed the programs name to Image Pro, and began the hunt for investors. They approached many investors, including Adobe, who at the time, had no real interest in it. As a result, and after renaming the program again several times, they eventually found limited success with a company called BarneyScan, who bundled the software, now named Photoshop, with their BarneyScan XP. After their limited success with BarneyScan, Thomas and John approached Adobe again. They were fortunate enough to pique the interest of Russell Brown, Adobes art director at the time, who immediately fell in love with the program, and pushed it forward for the company to acquire.

The World Wide Web Opens Doorways

In 1993, after I graduated college with a degree in Creative Arts, I moved north to the Reno area, where I sold computers for a Mom and Pop store. I spent my downtime on the showroom floor running through the tutorial exercises for Photoshop 3.0, to better understand how the program worked, and how to integrate it within my workflow. Every new technique I learned in Photoshop opened my eyes to the creative potential of the program. One area I paid particular attention to was file formats. I was familiar with the different types such as JPEG and GIF since I had been using those formats with a program called Director, which was made by Macromedia.

One day, my boss invited me to look at something on the computer screen. It literally felt like I was at a circus sideshow, and he was the shill, complete with the hey kid, come here, take a look at this grin. But, what he showed me that day was nothing to laugh about. It was the World Wide Web. It blew me away. Though I was familiar with online providers like AOL and Prodigy, the Web was different because I immediately understood its unlimited potential, its connectivity, and the technology under its hood, i.e., Hypertext Markup Language, better known as HTML. I trained myself to write the code and began to build mock web pages. With this new skill, I soon outgrew my present career and knew I had to venture to greener pastures.

My career path pointed me in the direction of advertising. My wife was the catalyst since she was currently enrolled at the University of Nevada, Reno in the college of journalism. She recommended I try for a job at a local ad agency. I was eager to give it a try, but lacked a proper advertising portfolio. So, I devised a clever solutionI created an interactive resume that I delivered on a floppy disc. It was a cutting edge approach that got me hired on the spot as a production artist, and presentation specialist, that is, the artist in charge of building the computer generated presentations the agency used to pitch clients like MGM Grand and Silver Legacy. This new career placed me in the drivers seat of digital creation, where I soon began to hone my skills as a digital artist. Later, I lead the Internet Web Division for the agency, building small websites for their clients, thus furthering my skillset.

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