Magic Lantern Guides Apple QuickTake 100
Digital Camera
xe
. Ne : Laterna magica com on™ John Larish
John Larish Apple QuickTake 100
John Larish
Apple
QuickTake 100
Digital Camera
Laterna magica
Magic Lantern Guide to Apple QuickTake 100 Digital Camera
A Laterna magica® book
First Edition September 1994 Published in the United States of America by
Silver Pixel Press Divison of The Saunders Group 21 Jet View Drive Rochester, NY 14624
Written by John Larish Edited by Richard Hood Production Editor - Marti Saltzman Editorial Assistant - Mimi Netzel Design and Layout - Buch & Grafik Design Gunther Herdin Graphics - Kathryn Seeley Printed in Germany by Kdsel GmbH, Kempten
ISBN1-883403-14-6
® Laterna magica is a registered trademark of Verlag Laterna magica Joachim F. Richter, Munich, Germany under license to The Saunders Group, Rochester, NY U.S.A.
© 1994 John Larish The Saunders Group
© 1994 Photos by John Larish Product photos by Mike McWilliams, The Saunders Group
® Apple, the Apple logo, AppleTalk, EtherTalk, LocalTalk, Power- Book, Macintosh, Power Macintosh, QuickTake, and QuickTime are registered trademarks of Apple Computer, Inc. ® All other product names listed in italics are registered trade- marks of their respective manufacturers. This book is not sponsored by Apple Computer, Inc.. Information, data and proce- dures are correct to the best of the publisher’s knowledge; all other liability is expressly disclaimed. Specifications may be changed by the manufacturer without
notice, or may vary from country to country; thus, the contents of the book may not necessarily agree with these changes.
Contents
FORC WONG. catirncrc detiriictenaten erase ele Pato see denen: 9 BEV OGUC UO Beste ice each a ese eats 10 Electronic Still Video to Digital - The How and Why .............. 13 larly Digital Still Photography 2.0.0... cececcceeeeeeeeeetetnnnenaeeeees 13 | Differences Between Analog and Digital Still Photography ...... 15 Lhe ieita PAGO Sap siis-ssséussdessoasebsencinsasnnemnaciccaaraubsverautemes Lie Analog to Digital‘ Conversion... siiseteseesiasicsidaoibeeniavielionces i Dita O DING, a vieeeenssshe antesleciee aaa adensss touted areen aaregeaaennees 20 COlOG DIS OIA 5 axiieveaets tas etes naa cae hc eke aes nce 20 CO lOr RAMBO ieseies sreuserenn sayauheolenrs Muambisetaveauensacten der nl sauntidee 20 PNAS NONE sts cients aoe tect inetd pi at acieden spuep eat aun sh sBeaietciy ee eeakeaoasnts 21 Digital Photography - Technical Requirements .............:: ecco 21 NVOUIL: ‘oi ticee semsdteeteus wonescencancetiaeays acne sualem adnslseaaengetase onsen 22 Processing Platforms and Software ............ Sioeosaa eee: 23 Image Enhancement Software ...........ecsecceeesesseneeeeeeteeeeeaees 23 Making Prints from Digital Photographs ............ee eee eee 25 Outputting Digital Photographs to Film oo... eee 25 What Can You Do with the Apple QuickTake Camera? ........... 27 Limits of the Apple QuickTake Cameta ............eeeseeeesseeeeeeeeeeeees 27 What Makes Up Image Quality? ......... eee ee eeeeeeeeeeeeeeeeees 28 MAGE C AUINY srauiaccmaseesseubs cepa oan eehenigacesnubaceeedscuciartauasscaswetey 28 Functional Image Quality ......... ce eeeesseeceeesessneeeeeeeeeeeeaaees 29 Shadow and Highlight Detail ......... eee eeeeeeeeeeeeeeeeeees 30 GOlOPACCUIACY six iicstitieanant Gir aan enna: 31 PAG ACIS ssc acanshat cunsete mcd tasudianlcen se aeceauceeteagbaeeeasnnieie asnaaeseeuitent 31 COEF CONS IG CFAUONS ssn sscxtes so vevsiatonc ass quencvaceyeteriariebyusoorosematdes 32 MONIHOFS: aNd DISDIAVS 5 utsscecees nonsise Vidaee A cues creshnexant eoeenice: 32 DION ACES: oii cod a sadsaceomiadtanare np rdanesetereab a socnet anes meoeaes 32 CD TUG apts cs as tees sea haetia gods etat reciente aloes slits ak Sea Pylaen nd eed 34 Understanding Color and Standards ...............eeesessececeeeeeeees 34 PTI aC accor sieht ednat tee hah en canhabe iooceenapeunebeeanasacnateaias at 37 How the Apple QuickTake Works .................:..::ceesees aaueiees 39 Basic Technology of the Apple QuickTake Camera ................- 39 The All-Important CCD Sensor ........... eee ee eeeeeeeeeeeeeeeneeeees 40
Ia SS: COMPTESSION sais accemetntelndms achat apie ssatiirenleneensesatione 42
Overview - Camera Features and Functions ................scecececeeees 43
The Light Measuring Sensor ...............ccccsessecceeeresoeeteeseenenees 43 TGS aS esas coh etce ste cutee h aaradaataxden Reena Nee tet elieeeta inci 44 FOCUS IRAE ag ccaedacttste banned? a aact scare nadaeychbehaunn tenamemscm eae net 44 FOCI LONSUM: gatas cueisnetenuaste omteglnateiet ae tiaase east 44 Computer Intenace: stc0 econ nem Ne pias Mh aveatou dette Sree 44 TAK UNS PICtUeS posses.socetect sce tcenchs tacsote hanced aeincnceietaduersetelacaes 47 OCIS: Sie chcissisas recacisit Shcdatraainudlsrailaa Mevadasaaysvatetntpadtesenatesaiietaey 49 LIS TB: I ASINS 2. ctonsthsndiesmacteatopesaseatstenaueeocnalentast Comtesatvaniemnseeaaeee 49 RESOIUEOM: SOU GS uct saceeesnctindleceastsasatedeg den reiieadescadinleuastncuaness 50 POW Er-SUDDIY ec cctacacttovsdscusetatisdoanntbacaeusaterpascnbeawentensememeane: 52 Using the Seli-timer ssscscicxictetsdbncdevie cies wachaeale aio 53 “SICCIY -adhscce yc lesesiacaand eassuseedvuan wedsausaseeGeuadetecdn mt ceerieseiene: 54 Apple QuickTake Application Software ...........ceeeessereeeeetee: 55 Setting Up the Camera from a Computer .0......... ec eeeeeeeeeeeeeeeeee 55 Naming the Camera and Setting the Clock ....... eee 57 Taking Photographs from Your Computer ..........::cccccccceeeeees 58 Working with QuickTake Images .........:::cesssseeeeessneeeeeeeeneeeees 59 Viewing Photos Stored in the Camera ...........::cccceeeeseeeeneeeees 59 Moving Images to Your COMputer ....... ee eeeeeeecee eens 59 Opening Photos or Slide Tables oo... eeeeessseeeeceeeeeeeees 60 Croppingca VF ICtUne: tisaccnace tsa saa et renrs seis sae aaetnteateue tines 70 Changing the Bit Depth of a Photo 20.0.0... ceeeeeeeseeeeeeeeeeeees 70 Copying a Picture to Another Application ...............eeeee 70 ROtALING a PNOLO ss c.cssuscnhcieasassaeveuyedaluaneseceneeenasnteciaees 2 SAVING PINOLOS:-.cs<sscesecgsastiommaiatdcna ssasnsevicledunndstiunentedentasieagens 72 Macintosh FOrmmnats \sacssictitences settiniccsitaesnamaiceetalgiesents 72 WiIndOWS FOrMats: d ciccinsannnctatcenatentersteoceanmblaiasuvaneans 73 PRUNE FOS cs ies sitet aion capita degre ecaorees 73 PNECOSSORECS a irases tities aruceteteecende ven dareee mined secasniah rena aten cea daays 74 ASS iss ess Sasser es ania tric alder tanec cates 74 POWER! AC COSSON CS) i nccrsvatacus cess utiascaecteasaneiconstwsstunnteeaisaeatess 74 COMMCCHONARINS ccnendsugeatuceevicnsuhsyauctunninsmelptpenigeesh tetaeentaneds 76 Making Better QuickTake Images ...................eecceeeeeeeeeeees 78 Camera: Handling: .c.1ssicsciacectess sien iweiewnicattiewaoptewbotesasaieiasesesieents 78 IOICIN GE INE Camel trict ciate iiiiastad sis drgeueo Riven teecstieveade: 78 Using a Tripod for Existing Light .......... eee eeeeseneeeeeeeeeeens 80 Tools and Techniques for Better Results ............c:sceceeeeeeseneeeeeees 82 Using Additional Flash Units ........ ee eeeseeeeccesssenreeeeeeeeeens 82
VOSS =U VCS fete ie i acta Nec ea cel a aaah etn nein el colaad ans 85 Wide Angle Photography ..................s:sccccressssrerseceeeseeeseeeee 88 Special Effect Filters 0... Satie ortega tenet 90 Enhancing, Filing and Storing QuickTake Images .................... 99 Using Enhancement Software ............eesssseeccceeeeeeeetneeeeeeeeteeeeeaes 99 Sharpening versus Unsharp Masking ............::::sceceeceeeeeeees 103 SUMO OUI se piteschcetoiy ovate deve urn iasuncusageeess eee etre teases: 103 Modifying Brightness, Contrast and Colors «0.0.0.0... essere 107 SUOMI MACOS: cers. Sastedsitee Se cdeunwaycdsesee eoteussyubeeimekncusnseeeeeee 117 DUIGING MACE FIGS: 235 ssarateosans a lavnienataeisiagte ce aecancnesoiaes 118 Choosing a File PORN al eect tinct ict hnastenucbucaedhedtantocit 119 TUS AM TO YOUN ai cco oa acres aigeeiarae Vacs gay vaste semaunadectasacauenenececuass 120 Publishing Apple QuickTake Photographs ................0........064. 123 Photographs for Publication 2.0... eceseeeeesssnseeeeeesneeeeeeeees 123 Improving Photographs for Publication «00... eee 124 Using Desktop Publishing Packages .............eeugeseeeceeseetteeeeees 126 Sizing QuickTake Photos for Prints and Screens . Maas 128 ACREdl OO pOMUNIY sccctrocteuned eetcdeGeherde acaues ss sealussased 130 Creative Uses of QuickTake Photographs .....................008. 133 Ideas for Using the QuickTake 100 Camera oo... ccccceeceeseceeeees 133 Getting the Most from Your QuickTake Images .............::::: 133 COMMDINING IMABES =a desiinkebashoit soadeetonastennenin germ censeghatieens 134 LISI EIS I CANE MILCES wii ote cncipascenshisatiaws net a det seauay udencesttenaveenes 136 Palit PACKAGES: ati iar lemat anda sha ives tie acne n is 138 STFS CAN Cs Ey Sri caine Soto ws a archer ends aaltvnanadcotedeancudn 140 Where Do You Go From Here? c.ccccc.cscccscsecereseseaessosssavevsencaeses 141 Tips and Troubleshooting .............00..... ee eeeeeseeneeeeeeeeeeeeeeees 143 Tipss=SOMe IMACS Basie is cac cx sGaesceusedevstensesusaiomeistelveedasnemaneass 143 FS LANES Sees Facets aa tee nema sietaas antosaantesnana pet econ cata: 145 Sharing Images Between Macintosh and Windows Computels ............ssssessssssressesesessctreeeeetenes LAS TrOUDIESNOOUING saccercccacdigies eaiditecesstg cio aatoyiaieeawuaeess wee 145 Ideas for Using the Apple QuickTake .0........... ee eeeeeeees 158 GIOSSARY: io35. 25s .cassaicaceeare eet coxmuneinagrenrt a tamara nears: 160 DOULCES sessed a aasanceneidaakivoesan ayaa eee erenete cele ane Ne ttuteneimeateone 170
Application Briefs
Throughout the text are illustrated examples of personal and business uses for the Apple QuickTake 100. The following is an alphabetical list of topics and the pages on which they appear:
PAY CHILO CUNO ie tye canbe de aaten the weet pet ntcuis sana cbeatasvenaesinceetenasears 135 PVCNCOIO BY: naceostactchepeectsaruensii ser una deerumneeonieeneasta elect: 129 PETC SA OS et soles aietageaecictabicdiaatyeteste cs ete oee acai Aenean eaee 51 Conventions and Trade SHOWS .........cccceccsecceecedecesccecescseeeeeeeecs 98 ENC ACL OMA xi bs Stam iccica te aad an Staaten oe vase ahaa iat neteranaae 131 PlOral IDES ISIN. 1 oismceascesusinantoracia tne ntatecvulagh val sete ae ong eaaonetants 71 Vers and 'BlOChURES siete tists aesitiiees Griemeeieen eben 36 NYS ANC Cok assieacds ass nccsasinnepdaeeeasactwamereic a anlieesa aieeee e 26 VOWRIEY crasksreuceuea i chsrecsiesatanauimientiaiiers Dannie Sete ogee 127 LAW EN OLCCMe Dl isk sce rieestetee iu ts eee dt dcresundastieere ties 102 WNCGICAN ices lala Gear RO neg tite an coe atnl ad eases 142 INGW Saf) CIS cases ncasacdssncsarognenedente ace my satanut hacnecnuupveannoweanesaaes 125 Quality Control/Defective Parts ...........ceeeeeeeeeeseseeeeeeeeeeeeeeeeeeeens 48 Ral EStAte? 250452 :scccstomonuess dads onanemateananereateisuesnrasandecncoddescencnsane ss 77. RES CAC asc pectens test aontiaistavsaie Mane ncenanantadeniaeiuendiasdconneecanduaieues 148 Restaurants and Caterers .........ccccccceccsescssceeccesccnscesseusccuseneseeess 147 INCEAIIIING: i tessstatete-snian Geiiccnnanssautsahasdte, puteeceu been cumen tenga) 121 SIONS. a race asec aces nsec emrasedeseaicas ees 137 MAME gersisnttescst cet asi eta ct anata ina suena ct mea se eater tucmaaaneaes 139
Application Portfolio
Sales PresentatiOn ........c.ccccceccecececsccececececcecececesescucseecececscaeeecs 151
Foreword
Digital photography— and the wider electronic imaging world in which it’s a key element— has gone a long way toward changing the way we look at pictures, the way we capture and manage information, the ways we amuse ourselves. But most of all, digi- tal imaging is changing the way we work. This book homes right in on what you need to know about the Apple QuickTake 100 camera; what it is, how you can use it effectively, and how it can change your work.
And it certainly can make a difference. Electronic imaging and image processing have expanded dramatically from “high end” tools solely for laboratory technicians and researchers to broad- based technology for virtually every type of business. Apple Computer’s introduction of the QuickTake 10Q camera marks a milestone in this direction— towards simplicity, friendliness, and accessibility.
Author John Larish was already the leading “technology evan- gelist” for electronic photography when few people had any idea what it was— certainly before a firm like Apple— so we have “Larish on the QuickTake” a natural, maybe inevitable pairing.
You'll find the results of this “marriage” helpful and provoca- tive. So heed these pointers, grab your QuickTake, and start imaging!
Barry Mazor
Editor-In-Chief
Advanced Imaging Magazine Melville, New York
Introduction
Electronic still cameras have been around for over a dozen years, if you count the first few years after Sony’s announcement until the first cameras appeared in the marketplace. The early cameras were costly, limited in quality, and used analog technology.
Digital imaging cameras first appeared in 1988 with the intro- duction of the first product from Fuji Photo Film. There have been a number of very good digital cameras including the NASA pro- duced digital camera that has been on Space Shuttle flights for the last several years.
Combining digital image capture technology from Eastman Kodak Company with Apple Computer’s understanding of the people who use computers, an extremely simple point-and-shoot digital camera is now available. With the arrival of the Apple QuickTake 100 digital camera, a new era has begun for digital photography. This camera closely meets the basic needs of the business person, graphic artist, snapshooter and those wanting to become digital photography literate.
This camera is so unique that it seems necessary to offer a book that can explain what the Apple QuickTake camera is, as well as suggest ways to make the most of this camera’s potential. Exploring all the possibilities inherent in this camera will require some old techniques of classic photography, along with some creative new wrinkles suited to exciting applications never imagined before.
This brings to mind a favorite topic of mine— the need to become image literate. Just a few years ago, we recognized the need for becoming computer literate. Today, desktop publishing, new information highways, and the worldwide distribution of images make it imperative that we become image literate.
What is image literacy? It begins with analog literacy— under- standing light, traditional photography, and how images are recorded. Second, it is digital literacy— understanding what the digital form of images can do for us. Finally, there is video liter- acy— how images come to us on television screens; there are things that we do with video images that will impact our com- plete image literacy.
10
This book would not have been possible without the efforts of many people, those in publishing as well as those who worked so hard to bring the camera to the marketplace. First my heartfelt thanks to the wonderful person who helped bring all these words lo paper, my wife, Rose Ellen Larish. She spent hours not only helping type this book, but also proofreading the first and second versions.
At Silver Pixel Press, Marti Saltzman, along with Michael Robertson of Laterna magica, Munich, were super people to work with in moving this book quickly to reality. A special thanks goes to Marc Heintz from Cromofilter S.A. who provided guidance in the use of Cokin filters as a way of adding additional capabilities to the QuickTake camera. Special thanks also to Eric Edwards of Sony Corporation who supplied the Sony Digital Printer that was so invaluable for proofing the Apple QuickTake 100 images. Thanks also to B. Keith Hackleman for his studio photography with the QuickTake camera and Brady Hackleman for modeling for the portrait examples. A special thanks to Mike McWilliams of Saunders for the fine product photography.
At Apple Computer, Stu Roberson and Rajiv Mehta provided the drive to bring the camera and all its components to reality; Peter Zan provided great continuity and support. At Eastman Kodak Company, David Lewis provided help with the technology, since Kodak created much of the electronics of the camera.
This book, with camera practice, provides a good basis for dig- ital photography. It shows you some of the many capabilities of digital imaging and previews some of the great possibilities for digital imaging in the future.
11
A beautiful sunset has been captured by the Apple QuickTake camera.
Since the image is digital it can be enhanced to even more fully enrich the colors, brightness and contrast.
12
Electronic Still Video to Digital - The How and Why
Most people think of the first public announcement of Sony’s Mavica in 1981 as the beginning of electronic still photography. The Mavica, (magnetic video camera), was an analog system based on the same idea usgd for recording images on video tape. It would be the better part of a decade before the first digital still cameras became reality.
For many uses, the analog still camera was and still is an ade- quate way of taking and showing still photographs on a tradi- tional television screen. In most cases, the quality was fully acceptable for a home TV screen, particularly after the introduc- tion of the still video Hi-Band standard that came much closer to television broadcast standards.
The quality of the images produced by the analog still video cameras of the mid-1980s depended on the manufacturer of the camera and ranged from awful to highly acceptable television screen images.
Early Digital Still Photography
Analog still electronic photography uses a very simple means of taking images seen in nature and converting them through a device called a CCD (charge coupled device) that catches the light reflected from a scene through the camera lens and converts this light to energy. This energy is changed to an electrical volt- age, which in turn is recorded on a medium.
For analog electronic still cameras, the medium was a small 2- inch square floppy disk that looked much like a computer disk for digital storage. The difference was that the information. being written to the analog disk was almost the same information that would be found on a video tape from a traditional VHS home tape recorder.
When you wanted to bring the analog still photo image to a computer, it was necessary to convert the analog information to digital information before it could be used in a computer. Some-
13
The Sony Mavica®, well-known example of an analog still video camera.
one very knowledgeable in analog and digital photography will realize that the CCD used in digital cameras is basically an ana- log device.
This chart illustrates how the Apple QuickTake camera converts an image from an analog to a digital signal.
Aperature and Shutter
Bo =-
Lens
CCD Sensor Shutter
Resolution Mode
14
The electrical information from the CCD is changed into a digital stream of information by a special analog-to-digital chip (A/D), very similar to the CCD chip itself. The advantage of this approach is a lessening of visual “noise” and improvement in the overall quality of the recorded information.
Differences Between Analog and Digital Still Photography
Analog photography can be either traditional film photography or analog electronic still photography. The earlier cameras of the electronic era were all analog cameras, which recorded the infor- mation as wave forms on floppy disks that recorded analog, not digital, information.
Traditional analog film photography records color images using light sensitive silver halide crystals coupled with dyes. These produce images in colored dye form which may be used for either direct projection with transparency film or for printing
Firmware
: Digital Buffer = Signal Bae Memory Processor
f
Serial
liming and Control = Interface
ANALOG |
en ' eee
This diagram illustrates the differences in an analog and digital signal.
with color negative films. There is no question that the traditional analog film systems, particularly since the great advances of tech- nology in silver halide film manufacturing, represent today’s high- est quality available media for storing images.
Today, with the advent of so many computer systems and the need for more rapid acquisition and transmission of images, slowly the digital camera is becoming an important part of still photography. Some of the earliest applications of color digital photography appeared in the publication field. Newspapers used cameras like the Kodak DCS100 and 200 (based on Nikon 35mm camera bodies with digital backs) for late-breaking news and sto- ries that required instant transmission and processing. Another generation of cameras, such as those from Leaf and Dicomed, brought digital photography into commercial studios. These cameras, with their ability to record high resolution color images of products, moved digital technology into the studio, where objects didn’t move and the time of exposure could be length- ened to provide the recording time necessary for digital cameras.
Surprisingly, in the case of the high-end cameras for studios, many photographers and art directors felt that some of the images produced were superior to those possible with film. How could this be? In many cases, the various layers of film could create effects that would distort colors in fabrics or other products. This required a great deal of retouching to ensure, for example, that the color of a printed bedspread would match what the customer ordered from the catalog.
Digital cameras, using color separation type filters, usually record images more accurately than film cameras. If corrections are needed, these may be preprogrammed or done digitally on a calibrated monitor of a computer.
16
The Digital Photograph
Digital photography is a way to bring different means of commu- nication together in a common form. This is not to say that there is no need for better interconnectivity between the different steps of the digital process, nor is there a common vocabulary between photographers, printers and computer media. However, words such as “desktop publishing” and “multimedia” have a common element— digital photography. At the heart of the new media is the ability to create both pictures and words in digital form. Digi- tal word processing has become an everyday practice in business and the home. The benefits of adding digital photography are being discovered by more people everyday.
A better understanding of digital photography and how it can be utilized is important. It is currently an area of dynamic growth which is expected to continue for the balance of this decade. With the development of new digital still cameras like the Apple QuickTake camera, digital photography is now becoming a real- ity for the mass market. |
Digital photography is still a mystery to many people, but one that they would like to understand. It can involve converting con- ventional color or black-and-white photographs to digital for stor- age and/or manipulation or combining the digital photograph with other text into printed material. Then there is multimedia, the combining of digital photographs, graphics, video, sound and text into a whole new field which is only now beginning.
Analog to Digital Conversion
We exist in an analog world of continuously varying value and time with no breaks or steps in between. For example, conven- tional photography is an analog process which can create contin- uous tone variation. To move this world to the digital arena, ana- log information is converted into singular, unconnected steps which make up a whole. Using binary form, value and time become a series of on and off signals, often called O and 1. The process for converting time is called sampling. If an analog signal is sampled at shorter intervals, the quality will be more accurate. The process for converting the value or amplitude is called quan-
17
lizing. In the digital camera, sampling or converting the analog image recorded on the photo-sensitive surface of the camera CCD (charge-coupled device), is done within the camera so that what emerges from the camera is a true digital signal.
Today, we commonly relate digital imaging to the screen of a computer. The computer screen is not necessarily a true digital image but it gives us a place to start talking about digital imaging. Whether it is a personal computer or a system connected to a mainframe, the information which appears is from a digital source. What always appears on our computer screen is a digital image converted to a video form and displayed on a raster- scanned CRT (cathode-ray tube) monitor.
It is easiest to represent numerical values in digital form through the use of integers where a certain number of bits are represented as powers of 2. The problem with integer numbers is that they go in steps of 1 with no fractional values. Floating-point numeric rep- resentations which do not have the limitation of integers are being used more and more in computers. As mentioned earlier, the pro- cess of time determination is called sampling and the conversion of the amplitude is quantizing. Together these are called analog- to-digital conversion (A/D conversion) or digitizing. This conver- sion process is an approximation, but has become much more refined with the improvement of A/D conversion devices and the use of higher sampling rates. In simpler terms, as digital imaging technology improves, the photographs created more closely approximate their original subjects. If the sampling rate is low, the result will be a very inaccurate representation of the signal. If the sampling rate is high, the copy can closely duplicate the original in both color and density. In the case of color, the red, green, and blue information is handled as three complete, separate sets of data producing three complete sets of digital information. Three A/D circuits are used and the encoding is done simultaneously.
As we digitize an image, we create a series of adjacent points in the image in the same pattern that the solid-state imaging device originally recorded the image. These individual points are picture elements, or pixels. When reconstructing the image for display, each pixel will be shown either as a small rectangle or square filled with a color calculated from the number of color bits representing that pixel or as a shade of gray if a black and white image is being recorded.
18
Se
As the number of bits per pixel increases, so does the quality of the image. The image on the bottom came from a system which can produce only four possible shades of gray and cannot effectively create continu- ous tones. The image on the top is made up of 256 shades of gray for more accurate and appealing reproduction.
19
If the resolution of a system is low, it will be possible to see the individual pixels, resulting in a fuzzy picture with the individual pixels showing. We call this pixelation. The degree of pixelation depends on how far you are away from the image and the corner- to-corner diagonal of the screen. A large viewing screen can appear sharp with a fewer number of pixels, whereas a small viewing screen requires a large number of pixels to appear sharp.
Bitmapping
Two things are discarded from the normal analog video signal. The blanking interval, when the screen is blank between individ- ual screen fields, and synchronizing signals which assure the syn- chronization of the video system. They are not needed in digital storage. Since the computer remembers where a picture begins and ends, these individual signals can be eliminated. The arrangement of adjacent pixels and lines into a continuous mem- ory without the video components is called a bitmap.
Color Display
Another important consideration in digital storage is the number of bits per pixel which gives a determination of how many colors can be displayed simultaneously. Values ranging from 1 to 32 bits per pixel are used in various systems. The difference is that the amount of storage required increases greatly as the number of bits per pixel increases. A 1 bit per pixel system displays two colors. These can be black and white, yellow and green, or whatever two colors are dedicated to the system. There is no gradation or tone variation with 1 bit per pixel. The QuickTake camera uses 8 bits per pixel resulting in color capabilities of over 16 million col- ors. Contouring, or distinct bands of shading, occurs when insuffi- cient bits per pixel are used. The color of the image appears in steps. While the effect on the image is almost artistic in the form of a posterization, the contouring disappears at the 8 bit per pixel level, the level of the QuickTake Camera.
Color Range
Most important, next to the resolution of digital images, is the dynamic range of the recorded color. This is not a problem with the rotary scanners but with CCD device scanners. The dynamic range is limited by a combination of electronic noise and the size
20
of the collecting area of the CCD sensor— noise diminishes the quality of the low end of the pixel while the well size limits the light-gathering ability of the individual pixel. The 8 bit total scan depth that is found in video cameras and camcorders produces only 256 colors. The full 24 bits of the QuickTake cameras pro- duces 16,700,000 colors.
Aliasing
One other artifact which will occur in digital images is aliasing. In aliasing, diagonal lines appear to be stepped, or have a jagged edge. In gray-scale systems, an anti-aliasing function is generally provided which averages the difference between the steps and reduces the effect of stairstepping.
Digital Photography - Technical Requirements
To help understand what it takes to make a digital photograph, let’s define a set of equipment which will allow us to input, manipulate, store and output, the photograph we create. | like to call this the digital photograph equation, because the end result can only be equal to the system components and all components are reduced to their lowest common denominator. If you take a picture at a higher resolution than can be reproduced, the equation will not balance and you will not see in the final image all that was captured with the camera. There are actually only a few pieces of equipment that make up the digital photo equation. What creates the greatest frustration level in people who try to work with digital photographs is the challenge of interconnectiv- ity of the components, something that is greatly simplified by cameras like the Apple QuickTake 100 Digital Camera.
For this example, we will consider the source or input to be the QuickTake camera. The input source of the original digital photograph could also be an analog still (conventional) camera, conventional video, or the conversion of existing color. films, prints, or other reflected or transmitted light material.
Standards are evolving for almost every portion of the digital photography equation. In some cases, there are multiple stan- dards which create additional interconnectivity concerns. An example of this is the several formats available for outputting
21
images. There is the possibility that one standard form of data cannot be accepted by different platforms. This means that you must look carefully at each component of the digital photo equa- tion to be sure that they will interconnect and provide the expected results. First, let’s look at each of the parts of the equa- tion. There are really no big surprises to the components. The technology in each area has been developing at a logarithmic rate. There has been a universal increase in quality and perfor- mance while prices, in almost every instance, have been decreas- ing dramatically.
Input
Today, there are many ways of creating digital photographs. The input of these photographs can come from dedicated still Cameras or camera backs, video cameras, Camcorders, or even from existing transparency or negative films and prints which can be scanned to produce digital images Our focus here will be the simple, and easy-to-use Apple QuickTake 100 digital camera.
The advantage of the digital camera is the instant capture and availability of a still image. What makes these cameras useful is that they greatly resemble the conventional still cameras which have been used for years. There is no long learning process required in order to use the QuickTake Camera.
Electronic images which come from conventional video cameras or camcorders offer limited quality because of the cur- rent standards for broadcast television. Many boards have been created for both Macintosh and PC platforms which facilitate the conversion of analog-captured information from video systems to a digital form, but it is an extra step and an added expense.
Digital photographs can be created from conventional photo- graphic transparencies, negatives, and prints. Any conventional photograph which is manipulated, retouched or altered on a computer, must first be converted to an electronic image. Flatbed scanners, which look and operate similar to a photocopier, are available for prints and films. Scanners for all film formats are also available. Among the 35mm scanners, 2400 to 5000 line scanners are available commercially. Flatbed scanners can reach interpolated scans of 800 and 1200 dots per inch (dpi). The problems with digitizing a conventional photograph are that time and expense are added to the process. Film must first be
22
processed and possibly printed before the images can be scanned.
Processing Platforms and Software
Most digital photographs are processed on Apple Macintosh com- puters and IBM-PC computers or compatibles. In many cases, the systems may be limited both in RAM storage space or disk stor- age, particularly as the resolution and color quality of digital photographs improve. Storage on the systems has always been a problem because of the large file size of digital images when using anything other than a video input. RAM storage require- ments on most retouching packages are a minimum of 4 mega- bytes in order to rapidly process image sections without a major delay, but 8 megabytes of RAM or more will make processing much faster. Many people who work with digital photos say that you should put in as much RAM memory as you can afford.
In the mid-1980’s, the Macintosh personal computer along with Aldus PageMaker and Postscript software revolutionized the workplace with the first desktop publishing software. This was followed by the first Macintosh image enhancement software in the late 1980's, which allowed the input of scanned images and created the ability to enhance these images, modify them, com- bine them with other images for final designs.
Microsoft Windows software is now available for the IBM PC platforms. This has brought a variety of software packages which offer digital image enhancement, manipulation, retouching and typesetting functions on the PC platform. New color publishing software packages for color desktop publishing are available and this is further increasing the need for digital photographs.
Image Enhancement Software
A number of excellent computer software programs are available, for both Macintosh and PC computers, allowing images originally made in the QuickTake 100 camera to be converted from the original QuickTake format to more standard file formats such as PICT, TIFF, BMP or others.
These software programs allow you to sharpen, HAOOIn, blur, or change color, contrast, and brightness of the image. You can also create new forms of the image. This gives you an exciting creative potential. Once the image is in digital form, the only
23
24
Components of Digital Photography
INPUT - IMAGE CAPTURE Analog Still Cameras Digital Still Cameras
Video Camcorders Scanners Rotary Flatbed Slide or Film Scanbacks PROCESS PLATFORMS Apple Macintosh IBM/PC Compatibles SPARC Workstations MANIPULATION SOFTWARE Enhancement Page Makeup DISPLAYS CRT LCD/FLCD Plasma Electroluminescent STORAGE Magnetic Solid State Optical WORM Frasable OUTPUT Thermal Wax Thermal Dye Transfer Ink Jet Silver Halide Light Valve Technology LCD LED FOCRT Laser Electrophotographic Film Cameras Image Setters
limit will be your imagination and your experience in working with this form of image.
Making Prints from Digital Photographs
The digital file format provides a number of alternatives for mak- ing prints. The standard laser printer can be used to produce a black and white print of a digital photograph. The quality of this print will be limited by the printer’s resolution and its inability to produce shades of gray; still, it should be sufficient for identifying the image and making a record of the scene that has been photo- graphed.
A number of other dye sublimation printers are available today, for prints ranging in size from small snapshots to 8 x 10” (A4) or larger. Ink jet printers for desktop use can produce good looking prints as well, and may be another alternative for making near-photographic quality images.
For many people, taking their photo files in standard image file formats (like PICT or TIFF) to a service bureau for color printing may be a good solution since many of these now use the best of dye sublimation, ink jet or electrostatic printers. In some cases, the same locations will have a color laser printer for a totally satisfactory color image that can then be copied for additional prints.
Outputting Digital Photographs to Film
Transferring QuickTake photos to film is more challenging because of the limited resolution of the QuickTake camera. Most film recorders record at 2000 x 2000 pixels or higher and a QuickTake file tends to produce an image which appears highly pixelized.
One alternative solution is to make a dye sublimation or ink jet print and photographically copy that to either color negative or color transparency film (depending on the need for prints or slides). While it is not possible to put more into the final image than was in the original, this procedure may make an adequate print for many purposes. Quality will vary according to the printer you use or the size of the image you try to produce.
25
Application Brief - Insurance
For insurance purposes, a QuickTake photograph is a useful visual record of automobiles, homes and property. A digital photograph of a new vehicle as well as photographs of acci- dent damage, can provide documentation and can be easily stored in digital form along with insurance records.
Automobile insurance adjusters can use QuickTake images to document claims. These images, along with insurance forms, can be sent via modem over standard phone lines to central locations or to agents in the field. The images can be used as proof of a claim or to compare the original condition of the auto to the damaged vehicle.
For property insurance, QuickTake photographs can be taken of valuables as an accurate record that can be easily stored on magnetic media. This may include QuickTake photographs of jewelry, painting, collectibles or other special items photographed in color. These photos, like the auto photos, can become part of permanent files. In case of some insurance loss or natural disaster, these photos can make sur- veying the damage and determination of claims much easier.
26
What Can You Do with the Apple QuickTake Camera?
There is almost no limit to the number of functions that can be served by a true, good-quality color digital camera. In Appendix |, you will find a beginning list that may give you some ideas for your own applications.
You will find expanded application ideas throughout this book, along with examples of photos taken with the QuickTake 100 camera. These may give you an idea of what can be done with this extraordinary new tool.
Limits of the Apple QuickTake Camera
Some may look at the QuickTake camera and only see a glorified electronic box camera— a camera without any creative or practi- cal capabilities. They are wrong, because, as we learned from previous generations of traditional still cameras, there are numer- ous tricks that can expand the basic parameters of any camera— if you think of it as a light capturing box.
The limits of the camera are defined by the resolution of the CCD. While you will not be able to make a mural-size print from the images of the QuickTake 100, with a high resolution image, you may be able to produce a useful 8 x 10” print if a good digi- tal image has been captured. | have made a print as large as 16 x 20” using an electrostatic printer, and the print, when viewed at a distance of twice the diagonal of the print (this is the same rule applied for viewing television screens), was satisfactory to most viewers.
Some of the other limitations that people notice very quickly are the lack of zoom lens, close-up functions, or manual control of exposures. Remember that this camera was produced for the general user and that effects like close-up and wide angle can be achieved by using supplementary lenses. For the price, the Apple QuickTake 100 camera offers extraordinary value and _ perfor- mance.
”~
v
27
What Makes Up Image Quality?
When we try to compare traditional color photographs to digital camera images, it is important to understand what elements make up image quality. When we look at a photograph, we consciously or subconsciously look for four things:
Image clarity: Does the image appear sharp and in focus? Is it blurry, fuzzy? Are edges well defined? If there are any vertical or horizontal lines in the photograph, are they sharp?
Shadow and highlight detail: How well is the scenic information preserved in the extreme ranges of the image? For example, can we see the detail in a person’s hair? Is there detail in the lightest and darkest areas of our photograph?
Color accuracy: Are the colors in the picture— in particular natu- ral colors like grass, skintones, and sky— what we expect them to be? Color judgment is very subjective, yet certain colors are still our reference in any photograph we make.
Artifacts: Are there any elements in the picture that seem unnatu- ral, that were not present in the scene, and appear to have been created by the picture-taking process?
Image Clarity
Image clarity is also called “sharpness” or “acutance.” The eye uses this clarity as one of its most important determinants for what an image looks like. In a camera, image sharpness is deter- mined by several considerations.
For a film camera, the camera lens plays an important role, as do factors like the flatness and precise positioning of the film plane, and the characteristics of the film itself. “Slower” films that require longer exposures are traditionally sharper, while “faster” — films tend to be “grainier,” resulting in fine details not appearing “resolved.” For instance, very small text will typically not be readable.
Analog or digital still cameras use CCD image sensors produc- ing picture elements or pixels, more correctly called photo sites, that record electrical charges proportional to the amount of light
28
that has hit them during the exposure. One pixel of the image is created for each cell in the sensor.
Because digital images are virtual, or implicit, their sharpness (or lack thereof) can only be viewed when they are output— on a printer, an imagesetter, a film recorder or a monitor. To achieve image sharpness with electronic cameras, you must relate the size of the image sensor— the number of pixels it produces— to the size of the desired output, and the characteristics of the image output device. This combination is called “Functional Image Quality,” or getting the results you need to fit your appli- cation.
Functional Image Quality
There are different measurements of resolution for every approach to still photography— analog, digital, or video. Digital output devices are measured according to the dots that they are capable of producing, expressed in terms of dpi (dots per inch).
A 600 dpi device, for instance, can lay down 600 very small dots within a fixed space of one linear inch, whereas a 300 dpi device can lay down only 300 larger dots in the same space. The smaller the dots, the greater the device's ability to reproduce fine detail, and therefore the greater the perceived sharpness of the images it reproduces.
Conversely, the total number of dots an output device will pro- duce from a digital image file is dependent on the number of pix- els contained in that file. Image capture and output devices have an interdependent relationship. The perceived sharpness of the image coming from a digital camera is dependent on the resolu- tion of the output device used, while the output device in turn is constrained by the amount of information contained in the cap- tured image file.
To achieve Functional Image Quality, or maximum perceived sharpness, of a digital image, the pixel count of the image capture device must be aligned with the desired output size and the dpi of the intended output device(s). For instance, an image consist- ing of 600 x 450 pixels will appear perfectly sharp when printed at 2 x 1.5 inches on a 300 dpi printer (2 inches multiplied by 300 dpi = 600 pixels, 1.5 inches multiplied by 300 dpi = 450 pixels).
However, on 72 dpi devices (like most computer monitors), the very same image will appear perfectly sharp at up to 8.33 inches
29
by 5.55 inches. When offset printed on a typical newspaper press, it will be sharp at up to 4.7 x 3.52 inches.
On a standard office laser printer (with a default line screen of 53) the same image will be sharp at approximately 7.5 x 5.7 inches. Users of digital cameras must be aware of their output requirements— both the size of the image being output and the resolution of the output device(s)— and select a camera that pro- duces a pixel matrix falling within the same range.
Although “overkill” (using a sensor that produces more pixels than needed) would appear to provide a margin of safety, other things must be considered. Since each pixel in a full-color system delivering 8 bits per color requires 3 bytes of data space, images with more pixels than necessary burden the system’s storage and processing performance without delivering additional output quality.
Shadow and Highlight Detail
Another key element of image quality is the ability to capture a range of contrast, otherwise known as “Dynamic Range,” between the most demanding scene areas— both the darker and lighter areas of the picture. Maximizing this range has long been a key element of the photographer’s craft. Ansel Adams devel- oped his famed “Zone System” to address precisely this issue.
In a digital environment, Dynamic Range is primarily a func- tion of the number of discrete “steps” of lightness— or shades of gray— the camera’s sensor and signal processing are capable of delivering.
For instance, a camera capable of delivering only 16 steps of lightness would have to allocate all the values in the scene across those 16 steps. Since most real-world scenes involve more than 16 measurable levels of lightness, this camera would inevitably collect scene elements with different lightness degrees under the “same image value.
The loss of detail has long been one of the most significant criti- cisms of digital imagery. Technically, this is called the “quantiza- tion” effect. To correct this quality shortcoming, camera processing can be optimized to make the photo appear more like the non-lin- ear response of the human eye. Without this “perceptual weight- ing,” detail captured by the image sensor would not be discernible.
30
Color Accuracy
Portable digital cameras create color through a mathematical pro- cess. A full-color image requires three values (Red, Green and Blue) for each image pixel. However, each cell of the CCD can only measure the intensity of one of these primary colors at a time. To allow for this limitation, a pattern laid down on top of the CCD determines which cells will measure Red, which will measure Green, and which will measure Blue.
The companion primary values for each pixel are then mathe- matically calculated based on the values recorded at adjacent cells. The design of the filter pattern laid over the chip in the QuickTake camera is called the “color filter array.” Algorithms used to compute the missing values are critical factors in repro- ducing realistic color through this method.
Artifacts
Cameras that use regularly spaced arrays of photocells (such as CCDs) are subject to an artifact called “aliasing,” sometimes called “stairsteps.” Aliasing usually occurs when a repeating pat- tern in a scene, such as a striped shirt, is focused onto the sensor array and the pattern has the same (or tighter) spacing as the sensor’s cells. These jagged lines can be removed by using a post- process enhancement step such as pattern removal or smoothing. Often, though, these functions can cause other problems, such as loss of sharpness or new artifacts.
“Color fringing” and “bleeding” are two other types of artifacts that can occur, particularly in high-contrast areas of an image. Color fringing is due to aliasing from the color filter array. “Bleed- ing” of a color over adjacent ones is generally due to the analog processing of video images.
These problems are particularly evident in “still video” cameras, with two primary contributing factors: (1) errors gener- ated by redundant signal processing— converting the information from the CCD first to an interlaced video signal, then to a digital signal; (2) perhaps even more important, by the use of sensors designed for television rather than for still image use. a
v
31
Other Considerations
Monitors and Displays
Most of the display systems available today use the VGA (640 x 480 or SVGA (800 X 600) mode or the equivalent. These resolu- tions provide good images from QuickTake photos. What is done, for enhancement many times, is to enlarge the image until the individual pixel can be seen. At that size, you will only see a por- tion of the scanned image.
There have been a number of graphic monitor interface boards developed with more than 1000 lines of resolution for use with CRT monitors of equal or higher capability. The first of the LCD monitors in color and black-and-white have been aimed at VGA level monitoring. Most of these are used in notebook computers. The color resolution of these are still not adequate, today, for color enhancement or high-quality digital photo viewing. There are a number of other flat panel display systems being developed, primarily for future high definition television systems. It remains to be seen if they will also be available as computer devices.
Storage
One of the components that offers a challenge in the digital photography equation is the storage of images. More complicated than the text we are used to, the old proverb that a picture is worth a thousand words doesn’t even begin to come close to the size of some stored digital photographs. Even the standard resolu- tion QuickTake photo may be equal to over 200 pages of text with a high resolution image requiring more than four times that amount of storage.
With available magnetic storage media, it is possible to eco- nomically store images on fixed and removable media. The cost per megabyte for magnetic storage has become very attractive today. The only drawback is the speed of data transfer. This may be a major factor for large image files.
When photographed, this image of tomato plants was intended for use as a color picture. It was finally published in black and white, causing both the red and green areas to appear in similar shades of gray. This could be improved by lightening the green areas and darkening the red tomatoes with image enhancement software.
32
Erasable optical media has proved to be particularly advanta- geous for the storage of digital photographs. Until recently, the main drawback to erasable optical. media has been a limitation on the speed at which you are able to write and then read the information stored. Vast improvements to the erasable optical material have been made in the write/read speed.
New technology such as the Kodak Photo CD will allow very high quality color photo images to be stored in non-erasable mem- ory for filing purposes with retrieval available from a Photo CD, CD-|, or CD-ROM-XA player. Kodak Portfolio software allows for the conversion of digital photos to Photo CD Image Pak formats.
Output
Screen display of an electronic image is usually a temporary measure. A hard copy is almost always required. Significant changes in output devices have been happening from technology, price and quality standpoints. A few years ago, thermal wax print- ers were the only option for digital color image printing and the results were not even close to photo realistic. Today, the quality of thermal wax printers has improved sufficiently to allow them to be used for proofing purposes for digital color photographs.
For the ultimate quality printing of digital photographs, there are several excellent choices. Dye sublimation, ink jet and a variety of printers which utilize silver halide products (conven- tional photographic papers) produce digital images with photo- like qualities both from the standpoint of resolution and color sat- uration. Color copiers are also being equipped for direct com- puter hook-up to be used as output devices. They offer the benefit of producing digital photographs in larger quantities with a qual- ity that is highly acceptable for commercial applications.
Understanding Color and Standards
Color is color, at least to many people’s way of seeing it. How- ever, color is created differently, depending on whether we use an additive RGB or a subtractive CYMK system. Computers and computer screens utilize red, green and blue (RGB) phosphors. By mixing these three colors, a range of color shades is achieved. Can we reach the full palette of 24-bit color? It’s very unlikely even in the best of monitors since we are limited by the color of the phosphors used in the CRTs.
34
In most printing systems and color copiers, CYMK (cyan, yellow and magenta and black) is used. In many cases the conversion from one to the other may have little relation to the color that the human eye sees. This presents a problem of lack of uniformity. In 1931, the CIE (Commission Internationale de |’Eclairage) created the first standard for international use which was based on measurements of visual conditions, but with some lack of visual uniformity. In 1976, a linear adaptation was per- formed which resulted in an associated CIE-LUV color metrics which achieves a greater correlation between mathematical dis- tances between colors and the visual differences.
Today efforts have been made by several companies to adapt color desktop printing to a standard form of color management. This is not an easy task since the necessary components for a truly successful and practical color management system may have to come from several locations. There is also the real need to increase the range of colors that can be produced by a system, also called the color space. This is something that Kodak attempted to do when it introduced its Photo YCC at the time of the introduction of the Photo CD product. The purpose of Photo YCC was to increase the color space of the system and make it more uniform and easily translatable to reality in reproducing the images.
A problem with the new imaging technologies that occurs with the use of the different color systems— RGB (Red, Green, and Blue) and CYMK (Cyan, Yellow, Magenta, and black)— is that the printing, photographic, and computer industries must deal with infrastructure and standards which exist already. Some of the standards are based on the way things have been done in that particular industry, and in some cases because of the physical constraints of the equipment, as well as the ongoing research and development.
Printers use the subtractive process (CYMK) for printing on a white surface. In addition to the colored inks, black is added to create saturated colors. For the photographic industry, layered Cyan, Yellow, and Magenta dyes are used to create color images on photographic films and papers. The computer industry’s CRT monitors use red, green and blue which are added to thé black surface of the CRT. This immediately presents a problem since a different color space is used for the printed image compared to the screen image.
35
Application Brief - Flyers and Brochures
It’s easy to make quick photos of your company products with the QuickTake Camera. Here, a tripod is shown; text created by using an image enhancement software program can be added. If the images are kept small, as they are in many catalogs, the standard resolution image will be ade- quate.
If the image is to be featured in a flyer, the high resolution images will provide a more satisfactory result. After making the photo, it can be stored in QuickTake compressed form to save storage space. At any time, the image can be brought back to full resolution form for transfer to a page layout or drawing program for a flyer or brochure. The Apple Quick- Take is a very economical and effective image capture device for companies with their own DTP set-up. With the Quick- Take, fliers and mailings can be quickly and easily created to keep a company’s product information up-to-date and in the limelight. :
36
Ideally, a new standard should be set which addresses all the related industries and all previous standards discarded. We could then have compatible product development for digital electronic photographs, desktop publishing, multimedia and printing. While this would be the ideal solution, it is not realistic and more importantly it would be prohibitively expensive to discard all the standards that exist today.
Hardware
Standards are also a concern when it comes to hardware plat- forms. As you look at the millions of CISC (Complex Instruction- Set Computing) computers, such as those from /BM and Apple, you find entirely different operating systems and graphic user interfaces (GUIs— those helpful screen devices that make the system easy to operate). These systems vary greatly from those RISC (Reduced Instruction-Set Computing) computers such as the Power Macintosh and Power PC that were recently introduced and that hold great promise for digital photography applications.
Even the simple matter of how many bits of color are required, can be debated because of the limitations of the display screen. Most CRT screens are unable to reproduce the full spectrum of colors, but there is the need for that full spectrum of colors for hard copy outputting if digital original photography is used.
While much has been accomplished in the way of standards to make all the pieces of the digital photography equation fit together, there are still multiple formats and standards, which one must face at each connecting point of the digital photography equation. With new agreements between such companies as IBM and Apple, and a number of other manufacturers, singular stan- dards may,emerge in the distant future.
For now, as you look at each piece of the digital imaging equa- tion, make sure that you know what output is available or what input you need so that you can mix and match the parts to your advantage. This will enable you to get the results that you, want with the digital photograph.
- ”
v
37
The Highland Lighthouse is one of the most photographed lighthouses along the Atlantic shore. The QuickTake camera maintained sharp defi-
nition and image clarity between the edges of the buildings and the bright sky.
38
How the Apple QuickTake Works
Ihe technology used in the imaging system of Apple’s QuickTake 100 is newer than that used in other available electronic still ana- lop and digital cameras. It is designed specifically to meet the needs of digital still imaging rather than adapted from compo- nents designed for television.
Basic Technology of the Apple QuickTake Camera
Still video systems have been, in many cases, justly criticized for their lack of color fidelity and for color fringing problems. Many carlier cameras suffered from poor dynamic range— the ability to 1ender all or most of the tonal range contained in a photograph. Without exception, the more recent lower cost digital still cameras are based on adapting CCD sensors to still photography that were originally designed and manufactured for television applications.
Because the requirements of still imaging are quite different rom those of television, the performance of these chips in elec- tronic still photography applications— in particular, their sensitiv- ily and their signal-to-noise ratio— leaves much to be desired. By designing a digital photography system from the ground up with leading edge Kodak technology and knowledge, Apple is able to deliver a price and performance breakthrough— a modestly priced camera that delivers high-priced camera performance.
The images produced by the QuickTake 100 are of ideal sharpness for business and documentation use. The QuickTake 100 offers a choice of two image resolutions: Standard (320 x 240) pixels), or High Resolution (640 x 480 pixels). The func- tional quality of the standard resolution is ideal for conaputer- lased presentations and documents generated on standard office laser printers. It produces sharp images on computer monitors, and on 300 dpi laser printers at print sizes up to approximately ‘|x 3 inches.
39
It is also perfect for output of small-size photographic quality images on high-resolution continuous tone printers. On dye subli- mation devices or ink jet printers,. it produces photographic-qual- ity images at sizes suitable for ID cards.
The high resolution image is suitable for many more uses and for a broad range of publications. It delivers enough data to print images at approximately 5 x 3.5 inches in newspaper-quality (85 line screen) offset-printed publications. It can be used for memos and documents in grayscale or color on higher-end laser printers.
The All-Important CCD Sensor
The QuickTake 100 uses a sensor designed specifically for digital photography. The sensor is a full-frame color CCD designed and manufactured by the Eastman Kodak Company. This sensor is fundamentally different from the interline sensors used in motion video cameras and many digital still cameras.
Interline sensors are optimized to work with the video stan- dards designed for home television images, where a single image or frame is made up of two interlaced fields or images made com- prised of every other line of picture information. To create images compatible with these standards, interline CCD sensors are con- structed with what might look to you like a series of tunnels called vertical CCD readout registers. These are located between columns of cells or the single picture elements (pixels).
In one half of a frame interval, the picture information from the even-row cells is moved into the readout registers. In the next half of a frame interval, the odd row cell information is moved into the readout registers. What is moving from each picture element is the electron equivalent of the amount of light recorded by that point. In a later step, the electron stream is changed to analog voltages— the signal information used in standard television sets. In this way, the sensor meets the interlace requirement of televi- sion by reading out first one field from the even numbered rows, and then the second field from the odd numbered rows.
This approach to making television pictures works well, but for digital still imaging you don’t need the frame-by-frame readout. In fact, when adapted to digital photography— as many manufac- turers of digital still cameras have done— this design actually has negative repercussions on image quality. First, the cells must be made smaller to make room for the vertical readout registers.
40
Ihe penalty you pay for this approach to reading images is a loss of about 30% of the overall surface of the chip. This causes a loss of sensitivity and a corresponding loss of signal-to-noise 1wio. This has a significant effect on the ability of the sensor to 1ecord all the picture information in a scene compared to what can be achieved by a full-frame sensor of equal dimensions.
Second, since the cells in an interline sensor are narrower and ielatively loosely spaced, interline sensors are more susceptible to aliasing, or the steps you might find in a diagonal line in a photo.
In contrast, the QuickTake 100’s sensor is optimized to take lull-frame pictures rather than to feed into an interlaced television display. The readout system uses the cells as a single parallel ver- lical shift register that feeds a high-speed horizontal shift register.
Since there are no separate readout registers between them, the cells are closer together, more approximately square, and have equal horizontal and vertical spacing. Most of the surface of the sensor— approximately 70%— is photosensitive, and the readout system is straightforward. Because proportionately more of its sur- lace is photosensitive, the QuickTake 100’s CCD is less suscepti- lhle to aliasing than the interline sensors used in other cameras.
A unique arrangement of
color filters produces
improved imaging (S R (S R characteristics for the
Apple QuickTake 100
camera. This is called the
Kodak Bray Filter. e cas
Color information of the QuickTake 100 CCD is recorded by placing individual filters over each pixel in the CCD. The CCD uses state-of-the-art color patterning technology — called the “Bray” color filter array pattern— which has been patented by Kodak. The QuickTake 100’s CCD is superior in its ability to
41
reproduce accurate, vibrant colors. Sensors designed for televi- sion display standards are at a disadvantage when applied to still imaging. In particular, the Green cells— which measure the majority of the luminance or brightness information and therefore determine resolution— cannot be evenly spaced along the rows and columns of an interline sensor.
This yields an irregular luminance pattern that makes interpo- lation more difficult and consequently more error-prone. By designing the camera CCD specifically for still imaging, Kodak was able to develop a filter array that evenly. distributes lumi- nance-sensing cells to provide optimum sharpness in both the horizontal and vertical directions.
The Green cells are positioned evenly, with every line and every row having a Green element to sample sharpness informa- tion at every other cell location. The reconstruction of the images from the colored filter cells is done by an advanced algorithm— also patented by Kodak— which preserves sharpness of the reconstructed image while minimizing color fringing effects. This technology has been adapted from Kodak’s professional DCS 200 camera. It results in realistic, rich color renditions and accurate reference colors.
Image Compression In a digital camera, the most expensive item is the memory stor- age system, Flash EPROM or solid state memory. Using a few
Camera Data
Several unique functions are built into the Apple QuickTake camera to enhance the final image output. These range from decompression to enhancement functions.
42
integrated circuit chips instead of removable magnetic disks or cards saves space and weight.
The digital signal processing. chip in the camera performs a proprietary adaptive differential pulse code modulation (ADPCM) compression. (A similar compression is used in CD audio discs for compressing music.) The compression is so fast that it is com- pleted before the camera’s electronic flash recycles. Compression takes about four seconds and the flash recycles in seven seconds.
The question will also arise as to why the more recent standard JPEG (Joint Photo Expert’s Group) compression was not used. A fairly sophisticated chip is required to get significant JPEG com- pression speed and speed of compression was a critical issue in the design of the QuickTake camera.
Overview - Camera Features and Functions
The Light-Measuring Sensor ..
To meter the light coming from the subject, two light-measuring cadmium sulfide (CDS) photocells are located above and below the optical viewfinder opening of the camera. These sensors con- trol the shutter in a series of speeds and f/stops ranging from f/2.8 to {/16 for apertures with shutter speeds from 1/30 to 1/175 sec- ond. The CDS sensor also activates the flash when it is set for automatic operation.
— Tone Correct B
RG = a a Computer
Enhance Image
=> Color Matrix
= Detail
Extract
43
The Flash
The camera’s electronic flash operates in three modes: AUTO- MATIC ON, ON, or OFF. Since the flash is fairly low in power, it has a range of 4 to 9 feet. Recycling the flash after each exposure takes seven seconds. With AUTO ON mode, whenever the cam- era is on, it will select the electronic flash if it’s needed. This set- ting is automatically activated every time you open the camera lens cover.
The ON position will fire the flash for every photo. This is use- ful when a strong light is behind the subject and you need addi- tional light to compensate for the backlighting. The OFF position will turn off the flash for photos made with existing light, for example. Remember, when the lens cover is closed and reopened, the camera will return to the AUTOMATIC ON posi- tion.
Focus Range
The camera has a fixed focus range from 4 feet to infinity, and people have successfully taken photographs with the camera as close as three feet. If closer distances are desired, close-up adapter lenses are available from several manufacturers; these will be discussed in Chapter 3.
Focal Length
The QuickTake 100 camera lens is equivalent to a 50mm (“nor- mal”) lens on a 35mm film camera. It should be noted, however, that when you look through the viewfinder, the image is slightly larger than it will be in the final image (compared to the optical view). This amounts to 20% more picture than is seen in the viewfinder. At times, this variation is helpful, particularly when working close to a subject. On the other hand, it can be a chal- lenge if you are trying to do copies or architectural views where it is important to obtain a correctly framed photo.
Computer Interface
Two versions of the Apple QuickTake 100 camera are available. One is designed for the Macintosh and Power Macintosh while the other is intended for use with a Windows platform. In addi- tion, Apple is providing a cross-over kit that allows a Macintosh camera to be plugged into a Windows counterpart, with the
44
Above:
Apple Quick- lake 100 packaging for Macintosh lormat.
Apple Quick-
lake 100
packaging for Windows for-
roel.
45
8
Front view
1. Camera lens
2. Shutter release (on top) 3. Timer light
4. Light sensor
ONAU
Built-in flash Viewfinder lens Light sensor Sliding lens cover
Side view
9. Sliding door 10. Power adapter port 11. Serial port
46
23 22 16 17 18 19 21 20 Rear view | 12. Flash button 18. Self-timer 13. Control Panel 19. Exposures made 14. Flash 20. Resolution button 15. Resolution and exposures 21. Timer button remaining 22. Erase all button 16. Erase 23. Viewfinder
17. Battery status
Windows software kit allowing plug-in to a Macintosh computer. More on the interfacing and the use of Apple QuickTake software will be found in the following chapters.
Taking Pictures
When you slide back the front lens’ protective cover, the camera is turned on and the control panel display on the back of the cam- cra appears. As you look through the camera, there will be 20% more in the final image than you actually see when you look through the QuickTake camera viewfinder. This means that objects in the final image will be slightly smaller and areas may be included that you did not see. Take time to frame the subject you want to photograph with these considerations in mind.
47
Application Brief - Quality Control/Defective Parts
The QuickTake Camera with its built-in flash allows photo- graphs to be made of parts while still attached to a piece of machinery. A series of close-up filters allows camera-to-sub- ject distances as close as 8 inches.
A QuickTake photograph can quickly show, in full color, the exact nature of the defect, how it related to other parts around it, and this information can be easily transmitted via computer modem.
Customers often question exactly which part they need to reorder. Many manufacturers lose valuable customer service time explaining to customers which part needs to be replaced in a piece of equipment. Often, several versions of a | part might have been used during the manufacturing cycle of a product. A QuickTake photo can also be used to show exactly what part needs to be replaced. By transmitting a digital photo of the defective part, there is a greater assu- rance that the right part will be supplied.
48
If you are outdoors or creating an overall interior scene, try to include some object in the foreground, and also some distant areas in the scene you are photographing. This will give a three- dimensional effect to your photographs. Pictures can remain in the camera’s memory up to one year, even without batteries (or until you erase the image).
Hold the camera steady, and press the shutter. It helps to place your feet slightly spread apart with elbows tucked in against the body. The shutter button is very soft and easy to press. Because the camera delays briefly before taking the picture, be sure to hold it still until you hear the shutter click. You may have a prob- lem hearing the shutter, particularly if there is much noise present, but you will get a sense of timing for when the shutter opens and closes after using the camera a few times. When the camera is ready for the next picture (in a few seconds), a green light glows in the viewfinder.
Focus
The camera can focus on objects as close as four feet and as far away as infinity. Objects closer than four feet may be out of focus, but objects in the range between four feet and infinity will be properly focused. Thus you should keep a distance of at least four feet between you and the object you want to photograph. Close-up lenses are available that can be attached to the camera for taking photographs as close as 10-12 inches. More on these lenses in next chapter.
Using Flash
The flash can illuminate objects as close as four feet and as far away as nine feet. The flash recycles in about 7 secorids. Addi- tional flash units with remote firing devices can be used to create better lighting for portraits or to increase the coverage of light when the camera is farther from the subject than 9 feet. The next chapter will cover techniques for improving images taken with flash.
There are three possible settings for the flash which are found on the control panel display on the back of the camera. Each time you press the flash button next to the flash symbol, you move from one setting to the next. |
To let the camera’s light sensor determine when to turn on the flash, press the button several times if needed until you see the
49
flash symbol which looks like a lightning bolt with an “A;” this stands for AUTOMATIC ON mode. When you turn on or “wake” the camera, this setting always appears. Most of the time, this will be the easiest and best way to ensure good pictures.
However, there are several other options which will be useful as flash settings. For a flash with every picture, press the button until you see the flash symbol without the “A.” When your sub- ject is darker than the background, such as in backlighting, use this setting. An example would be someone standing in front of a bright window.
To turn off the flash, press the button until you see the flash sym- bol with a circle and a diagonal line through it. You might use this when the level of light (for example, in an office) is very bright and you want to do an overall view of the area. This same setting would be good for home interiors and even for some night pictures.
One caution for photos after dark. There is no time exposure capability in the QuickTake camera, shutter speeds are 1/30 to 1/175 of a second. If you want to take a night photo (for example, at a baseball game), you will find the stadium lights are sufficient for a good exposure. On the other hand, don’t expect to get photos by moonlight without flash, it just won’t work.
Resolution Settings
There are two possible settings for resolution. Each time you press the resolution button, you move from one setting to the other. For standard resolution, press the button until you see the two large black squares. Standard resolution means that your photos will have 320 x 240 pixels and you will be able to take up to 32 stan- dard-resolution pictures.
For high resolution, press the button until you see the check- ered pattern. High resolution photos have a resolution of 640 x 480 pixels so that each picture contains more detail. You can take a maximum of eight high-resolution pictures; they take more space in memory than standard-resolution pictures.
You can mix high- and standard-resolution pictures in the camera, all in 24-bit color. The QuickTake camera will keep track of how much memory you have available by showing you, next to the resolution symbol, how many images you can take in the selected mode before the camera is full. This number changes when you change the resolution setting. (The number in the cen-
50
Application Brief - Auto Sales
Nothing sells an automobile better than a photograph!
Digital photographs can be easily made in the automobile showroom or used car lot. They can be enhanced by remov- ing unnecessary background objects such as signs, trees and telephone wires. These photographs can be used in letters, brochures, or newspaper advertisements for the car dealer- ship or individuals can use them to submit ads to their local Auto Shopper publications. QuickTake images can be trans- mitted via modem to brokers in other parts of the country.
Special details such as custom interiors, or enhanced equipment packages can also be photographed and added to an advertisement or brochure. The ease of making the Quick- Take photo encourages better and more imaginative uses of photos for automobile advertising. |
51
ter of the control panel shows how many pictures you've taken.) The camera automatically switches to standard resolution when there isn’t enough memory for a high-resolution picture.
Power Supply
The QuickTake 100 is powered by three, AA rechargeable batter- ies. Just below the center of the camera’s LCD panel is a battery icon which tells you how much power is left in the batteries. When batteries are fully charged (or the power adapter con- nected) the entire battery icon is black. When the batteries are running low, only half of the battery will be black. If a white bat- tery appears, the batteries are depleted and should be recharged or replaced.
Apple Battery Booster Pack
The QuickTake 100 Battery Charger.
Another option is the Apple Battery Booster Pack which uses 8 lithium batteries. You can also use standard alkaline batteries to power the QuickTake camera in an emergency, but the life of
52
The QuickTake 100 showing proper placement of batteries.
Connector covering Power and Serial Ports.
these batteries is not as long as the recharged NiCd batteries. If the batteries run out, the pictures in your camera are safe for up lo one year, but you need fresh batteries to take any more pic- (ures.
It is best, especially when downloading images, to use the (JuickTake AC Adapter. Downloading requires additional power and reduces the number of images you can make with a fully- charged set of batteries.
Using the Self-timer [he last control button on the lower right of the back control panel is for the self-timer. The symbol next to it is a circle with a single clock hand. The timer gives you a 10 second delay before the camera takes a picture. |
To use the self-timer, press the timer button. When the timer is on, the timer icon blinks. For best results with self-timed photos,
53
you should place your camera on a solid surface or use a tripod. Small tabletop tripods work well for this purpose.
When you are ready to take the photo, press the shutter but- ton. On the top front of the camera, a red indicator light will glow steadily for eight seconds, then it will blink rapidly for another two seconds. At the end of the two second signal, the camera takes the picture.
“Sleep”
To conserve battery power, the camera goes to sleep after 60 sec- onds of inactivity (or after 5 minutes of inactivity when connected to your computer). To wake it, you can press and release the shut- ter, or close and reopen the sliding lens cover. If the camera is connected to your computer, you must close and reopen the lens cover to wake it, pressing the shutter will not work.
QuickTa Fro
1994 Apple Computer, Inc. Portions © Image Software 1992-1994. All rights reserved. Caere Corporation
The introductory screen for QuickTake version 1.0 software shows a | series of colorful images along with a photograph of the QuickTake 100 Camera.
54
Apple QuickTake Application Software
Apple QuickTake software is available for both the Macintosh and Windows environments. The software is easy and fast to install.
For the Macintosh environment, you need system software ver- sion 7.0.1 (with Tune-Up 1.1.1) or a later version, a minimum of 4 MB of RAM, a high density floppy drive and 10 MB available on your hard drive. For the Power Macintosh, a special software version is supplied.
The Windows environment requires a PC computer with an 80386 or later processor, Windows 3.1 or later, MS-DOS 3.3 or later, 2MB of RAM, a 3.5-inch, 1.44 MB floppy drive, and a hard drive with 10 MB available.
Setting Up the Camera from a Computer You can also operate the camera from a computer. Both Macin- tosh and Windows software offer almost identical control and operating functions. The key differences are simple ones in the Operating system with the Macintosh version being slightly friend- lier. When you have worked with one version, it is very easy to use the other version.
The QuickTake serial cable for the Macintosh plugs into either the serial or modem port. If the port was previously activated for
Computer connector covering power port only.
995
The QuickTake 100 connected to a Macintosh PowerBook using a serial cable plugged into either the serial or modem port.
The QuickTake 100 Windows version connects to a notebook PC through the 9 pin or 25 pin serial port.
a printer or modem, it will be necessary to reboot your Macintosh so that it can locate the camera.
The Windows kit also comes with a serial cable that connects to any available 9-pin or 25-pin serial port. If you have previously used your serial port as a mouse port, you must either install another serial card or operate the computer manually through the keyboard after connecting the camera and rebooting your com- puter.
56
a RK
QuickTake
of =|
ReadMe
QuickTake Serial Ports i COMI: Not Available — - _COM2: Serial Port
Guickrake COM3: Not Available
Serial COM4: Not Available Ports :
Comm Port Baud Rate
Any Port 57600
For Windows applications, a QuickTake serial port screen will find auto- matically your available COM port. This saves lookup time and allows very fast connection of the QuickTake serial cable to the correct inter- face on a Windows platform.
No matter which camera outfit you purchase, for the Macin- tosh or Windows, connector kits are available from Apple for use with the other type of computer.
Naming the Camera and Setting the Clock
When you begin to use your QuickTake camera, you should do two things immediately— name the camera so that your name, company, or camera identity appears in all slide tables, and set the clock so that the correct time and date appears on your indi- vidual images. This will be a great help since large files of images will develop as you use the QuickTake camera more and more. lor both naming the camera and setting the clock, the camera must be turned on and plugged into the computer.
To name the camera: You must first double-click the QuickTake icon to run the QuickTake software. Then click Camera.in the header menu and Set Camera Name from the Camera menu. You can then type a camera name of up to 31 letters in the dialog box. When you are finished, click Set and your camera name is recorded.
o/
To set the clock: Click Camera in the header menu, and then choose Set Camera Date & Time and then click OK to match the date and time of your computer. Whenever you want to check the accuracy of the camera’s clock, choose Set Camera Date & Time from the Camera menu.
If the batteries in your QuickTake camera go dead or you remove them for any length of time, it will be necessary to repeat the clock setting procedure.
Taking Photographs from Your Computer
You can operate all of the controls on the back of the QuickTake camera from your computer. In addition, the computer screen includes a Take a Picture button that will allow you to take pic- tures from your computer. This may be useful for such things as identification photographs or when using the camera in an area where it is safest to operate the camera remotely, like a test site.
Take a Picture
When you select Camera Controls on the Camera menu, an icon appears which resembles the camera’s LCD panel. By clicking the but- tons at each corner, camera functions such as flash, self-timer and reso- lution can be set or adjusted. The Take a Picture button at the bottom allows you to make exposures from your computer.
58
You have access to all the controls by clicking the Button icon next to each function or the Take a Picture button itself. To start, put your camera on a solid support such as a tripod. Then, con- nect your camera to your computer, choose Camera Controls from the Camera menu. You can then change any of the camera settings to suit your particular application.
Pictures taken while the camera is operated from a computer are stored in the camera until moved onto the computer or other storage media. You may erase all the images by pressing the Erase All button. Remember, whenever you erase in the camera, the erasure is permanent and not recoverable.
Working with QuickTake Images
Viewing Photos Stored in the Camera
While your photos are still in the camera, you can see them and work on them. Connect the camera to your computer and turn on the camera by sliding open the lens cover. Open the QuickTake software by double-clicking the QuickTake icon, choose View Slides in Camera from the Camera menu.
The photos will appear in a “slide table” on your computer screen. You can do all of the functions that will be described from rotating and renaming to printing the image. The images are still in the camera memory and can be moved later to a disk for per- manent storage.
Moving Images to Your Computer
When you have finished taking pictures (or when the camera is full), transfer photos to your computer. Connect the QuickTake camera to the computer using the serial cable provided for either a Macintosh or PC. If your camera is turned off, turn it on by slid- ing open the lens cover. Double-click the QuickTake icon and when the software menu appears, choose Move All Camera Images to Disk from the Camera menu.
Choose the location to which you want the images moved, Then, click either Save in the Macintosh or OK for the PC software. After the images have been moved, a message will appear that gives you the chance to erase the images off the camera. You also may erase the images by pressing the Erase button on the back of the camera.
59
AF3.QTK - 100% S=—————_
3/28/94 3:20:28 PM
ae
AF4 OTK AFS.QTK
Slide table images can be created from images in the camera or from a file of images on a floppy disk, hard drive, or other medium. Once the slide table appears, double clicking in the text area allows individual images to be renamed. This replaces the basic image designation for each image from the camera. Double clicking on the “slide” will bring a full size image to the screen.
Opening Photos or Slide Tables
Once you have moved your photos to a disk, you can open indi- vidual photos or a slide table of images from a previous group of photos. The QuickTake software allows you to look at them, make some changes, and save the pictures in a variety of formats and bit depths.
You start by opening the QuickTake software by double-click- ing the QuickTake icon. From the File menu, choose either Open to open a single photo, or Open Slide Table for a group of photos. You can have a preview of the photo you choose by clicking the Show Preview block. If you choose the slide table, by double-clicking any image, you can see the photo in full detail.
Whether the images are in the camera or already moved to your computer, there a number of things that you can do to your photo. With slides, you can edit the name by clicking the name
60
Windmill in Golden Gate Park, San Francisco, California (high resolu- lion). By moving back from the windmill in order to include a tree limb,
if was possible to create an interesting frame of tree branches in the foreground.
61
San Francisco night scene showing the Ferry Building (high resolution). The addition of a Cokin Star filter made each street light a bright star. While not designed for existing light photography, the Apple QuickTake still has an amazing ability to record images at night.
Golden Gate Bridge as seen from the Presidio, San Francisco, California (high resolution). There are a number of locations that provide excel- lent views of the famous Golden Gate Bridge. This one had large, dark foreground growth which aided the composition of the photo.
Playground slide, Old Miami Beach, Florida (high resolution). The bright color and unusual shape of the slide add interest to this photograph.
BCE Place, Toronto, Canada (high resolution). The darkly shadowed people walking in the photo add a sense of scale and reality to the photograph.
64
er
Art Deco buildings, Old Miami Beach, Florida (high resolution). The classic automobile in the foreground, is not from the.era of the original buildings, but still helps to add an old-time flavor to the photograph.
loronto, Canada (high resolution). The Apple QuickTake Camera pro- vided an easy means for recording this railroad roundhouse from a hotel
window.
—
—_ 2 * 2 a
a |
Tattooed man - back (high resolution). The full 24-bit color of the Apple QuickTake Camera gives accurate reproduction of both the skin tone and the numerous brightly-colored tatoos.
66
Tattooed man - front, (high resolution). In high resolution mode, the details of the tatoos can be nicely documented.
Bronze statue honoring an early African American flyer, U.S. Air Force Academy, Colorado Springs, Colorado (high resolution). A low camera angle makes the figure stronger and provides a sky background for his face.
68
SS SSS==-_=-=_==_=_=S2=]=]=====-: untitled alhdes
| 2/98/94 3:00:32 PM 3/28/94 3:01:14 PM
AF4 TK AFS.QTE
AF6 OTK AF? OTK
AFB.QTK.
This is the slide table that is presented when the Slide Table command is invoked for slides in the camera or on file. The image names can be changed by simply clicking the name area of the slide, As you can see by the checkerboard pattern in the left margin of each slide, these images are all high resolution. A standard resolution image would appear with only a four part checkerboard within that lefthand square. The date and time the exposure was made are contained at the top of the image.
block. On a PC, enter a name of up to 8 characters long with a 3- character extension. No spaces can be used or any other invalid character (?,*/\). On a Macintosh, 31 characters is the maximum length and a colon cannot be included inthe name.
To get information about a slide: Click the slide and choose Get Info from the File menu. Each slide shows the slide’s name, file type, file size, image depth, dimensions (in pixels), width and height in inches and centimeters, location, and the date and time the picture was taken.
- o
To see the picture in the image window enlarged, actual size, or reduced: Choose View from the Image menu, then choose an item from the submenu. When you choose Zoom In, the image doubles in size. When you choose Zoom Out, the image shrinks
69
to half its previous size. High-resolution images show 144 dots per inch (dpi). Standard resolution images show 72 dpi. When you open an image the first time, the QuickTake software uses all the pixels to present the best possible image on your monitor. With a high-resolution image, the picture appears at 200% mag- nification.
To change the size of a printed picture: Choose Resize from the Image menu. In the box that appears, you can specify one aspect (width, height, or resolution) of the size you want the picture to be. Resizing affects the entire picture displayed in the image win- dow. You cannot select and resize only one dimension of the pic- ture. To choose the unit of measure you want (inches or centime- ters), use the Units box.
Cropping a Picture
You can crop a photo using the QuickTake software. Drag the pointer to include just the part of the picture you want in the selection rectangle. If you don’t get it right the first time, click outside the selection rectangle (or type command-Z for the Mac- intosh or Ctrl-Z for the PC ) to cancel and then try again. Choose Crop from the Image menu and the cropped image appears.
Changing the Bit Depth of a Photo
To save space in storage, you may want to change the image bit depth of your photograph. For example, if you are only planning to print your photo on a grayscale printer, you can change the bit depth to 256 shades of gray. Remember that changing the depth and compression may affect the image quality.
To change the bit depth: Choose Change Image Depth from the Image menu. Then choose the bit depth you want, millions of colors, thousands of colors, 256 system colors, 256 custom col- ors, 256 shades of gray, 16 shades of gray, or black and white.
Copying a Picture to Another Application
You can copy QuickTake photos and paste them into documents in other applications but not into other QuickTake photos. Drag the pointer to include the section rectangle of the part of the pic- ture you want to copy.
70
Application Brief - Floral Design
_ Digital color photographs can show the beauty and the qual-
ity of a floral piece. These images can be used for customer letters, proposals for wedding packages and advertisements. This photo of a finished floral arrangement was made at the location where the flowers were displayed. Photos such as this can be included in an album or presented on a com- puter to prospective customers. The Apple QuickTake’s digital image makes it easy to show
the arrangement in its actual surroundings or (with image
enhancement software) to “place” it into a picture of the
' customer’s home or church.
A library of floral arrangement photographs can be used
_ to create customized brochures for special markets such as
weddings, funerals, or for special occasions. The images can also be created into digital slide shows that could be shown
on store counters or in locations such as bridal shops.
71
To copy an entire image: Choose Select All from the Edit menu. Then choose Copy from the Edit menu. Finally, position the pointer in the target document and choose Paste from the Edit menu. Your image will appear in the document.
Rotating a Photo
You can rotate slides or photos in the QuickTake software 90° or 180° left or right. In the slide table, you can only rotate photos that are in the PICT QuickTake format. In the single, full-size image form, any photo can be rotated.
Note: If you rotate a picture that is still in the camera, you must save it to make the change permanent. If the image is already in the computer, it will remember the change.
Saving Photos
To preserve the changes you have made or to save the photo in a specific format, you can use the Save or Save As command in the File menu.
In the Macintosh environment, images can be saved in the fol-
lowing formats:
e PICT QuickTake Format- PICT QuickTake is created (and compressed) by the camera. To open this format in the com- puter, you need the QuickTake and QuickTime extensions software. The PICT QuickTake format is used only by the QuickTake application. No other application directly sup- ports this format. Files saved in this format are interchange- able between Macintosh and PC QuickTake applications. PICT is the basic Macintosh file format and is used by almost all Macintosh programs to read images.
These three formats use JPEG compression incorporated into the software for a smaller file size but with some image quality loss. For these, you only need the QuickTime extension.
PICT (Least compression) PICT (Average compression) PICT (Most compression)
e TIFF - (Tagged Image File Format) TIFF is a commonly used file format for storing images in various resolutions.
72
The following file types are available in the Windows environ-
ment:
¢ PICT QuickTake Format - The same as used in the Macintosh computer but not requiring the QuickTime extension..
e TIFF - (Tagged Image File Format) TIFF is a commonly used file format for storing images in various resolutions.
¢ BMP - The Windows Bitmapped File Format.
e PCX - The native format for the Paintbrush application on DOS and Windows computers. This format is widely used in DOS programs.
e JPEG - (Joint Photographic Experts Group) The QuickTake software gives you a range of JPEG formats from least com- pression (high quality) to most compression (some loss of image quality). :
Printing Photos
You can use QuickTake software to print both slide tables and
single photo images.
To print slide tables: open the slide table you want to print, choose Print from the File menu, complete the print dialog box, and then choose print or OK. Your printed slide table will be appear in a short while.
To print single photos: make sure the photo you want is opened lo full size. High resolution images appear in a magnification of 200% and print at 100%. Standard images appear in a 320 X 240 pixel size on screen and are the same size when printed.
To print: choose Print from the File menu, and then comiplete the dialog box. When you finish the dialog box, click Print or OK.
You can change the size of the printed photo by using thé Resize lrom the Image menu. |
73
Accessories
Cases |
A number of accessories are available from Apple Computer, Inc. One of the simplest, but most useful items is a travel case. This comes with a leather camera grip and an all-leather carrying
Case.
Apple Travel Case and convenient leather Camera Grip.
Power Accessories
A variety of power supplies are available from Apple and at least one other manufacturer. You can use the QuickTake AC Adapter to conserve the camera battery by plugging the camera into an available power outlet.
The PowerPlate QT1 from Technéggin mounted in the Quick- Take 100’s tripod socket.
74
TE a
Rechargeable PowerPack for Apple
Ihe Technéggin PowerPlate QT1 accessory rechargeable power system provides up to three times the power of the camera‘s internal batteries.
The PowerBook AC Adapter available for the 100 series Pow- erBooks will also work with the QuickTake. The PB 100 AC Adapter, Duo and 500 series adapters are NOT compatible.
If you need more battery power when traveling or when not near a power outlet, use the QuickTake Battery Booster Pack. The pack contains eight lithium batteries and lets you take thousands of photos with the QuickTake camera.
Another company, Techndggin, Inc. (see, Sources) has intro- duced the PowerPlate QT1, a rechargeable power system for the Apple QuickTake 100 camera. The power supply is designed to blend with the camera design. The PowerPlate mounts on the tri- pod socket and includes its own tripod socket. The power supply can be charged without removing it from the camera in 4 hours.
15
The Apple QuickTake 100 Connection Kits for Macintosh and Windows.
Connection Kits Apple offers connection kits for both Macintosh and Windows
formats. These include necessary cables, software and instruc- tions.
76
Application Brief - Real Estate
Nothing attracts sales better than good photographs of real estate property. Here a house in deep shade has been faith- fully captured by the Apple QuickTake Camera. The softness rendered by a house in shade can be a very attractive scene to someone who values large trees on the property.
Photographs have been a powerful selling tool for the real estate market. The Apple QuickTake Camera provides several elements which will be helpful. Economical QuickTake images can be taken directly into the computer for desktop publishing or transmission.
A Fact Sheet can be prepared for presentation to prospec- tive buyers which includes series of interior photographs showing appealing details as well as other unique and sale- able features. Also since no film is involved, digital photogra- phy can represent a considerable cost savings to the real estate office. |
For interior photos, many times the best photos will come from turning off the camera flash. The QuickTake Camera meters available light very well. If the lens is not wide enough in its field, you may want to experiment with a video wide angle adapter lens to increase the coverage of room interiors.
7
Making Better QuickTake Images
The Apple QuickTake 100 is a very simple camera. However, there are a number of steps you can take to help ensure better photos with the camera. The great advantage of the QuickTake is that you can try new things, look at your images on your com- puter, then erase the camera images and try again.
Camera Handling
Holding the Camera
It sounds very simple to pick up a camera and hold it in your hands, but there are some handling considerations for getting the best results from a still camera. You can start by keeping your elbows close to your body to form as rigid a support as possible. Grip the camera securely being careful not to cover the flash with your fingers.
If the flash is turned off, and you think the exposure will be longer than a normal instant exposure, you can lean comfortably against the side of a building, put the camera on a solid surface, or rest your elbows on a solid surface to assure that the camera will not move during the exposure.
Because the camera is electronic, some people assume that, like a video camera, if the camera moves, you'll become seasick when you look at the pictures on the screen. With a still camera, of course, any camera movement will only affect the ultimate sharpness of the final pictures.
Besides holding the camera, it is important to be sure that the lens of the camera is kept clean. For cleaning the lens, use a lens cleaning tissue, not a handkerchief or other cloth that might con- tain abrasive that could scratch the lens. A good lens cleaner can be used, but should be applied to the tissue so it does not seep into the edges of the lens or into the components of the camera.
78
For natural results, when holding the camera in a vertical position it is recom- mended that the flash be positioned at the
top.
Proper handholding technique for the camera in the horizon- tal position.
79
Using a Tripod for Existing Light
A tripod is probably one of the most useful tools for existing light photography and for photographs; such as portraits, where you would like the camera properly positioned while the individual has a chance to pose for the picture.
Because the camera is very lightweight, the tripod you choose can also be lightweight and compact. For many situations, even a tabletop or a clamp-on tripod will be sufficient.
The key with a tripod is to be sure that all parts of the tripod are locked, including the legs, grid, and-.particularly the screw which goes into the bottom of the camera. I’m sure that if you have ever used a tripod, you’ve experienced a leg slowly return- ing to its original compressed form as you are taking the picture, ruining the photograph that you had intended to make.
For existing light photographs, it is important that the flash be turned off by using the button next to the flash icon on the cam- era control panel and pressing it until the flash symbol with the circle and line through the symbol appears. The flash will not activate until either the button is pressed again or the sliding lens cover of the camera is closed and opened.
After a sleep period, if the camera is reactivated by pressing the shutter release button, it will still be in the No Flash position. If the door is used to take the camera from the sleep position, then it will be necessary to reset the flash to the No Flash position for additional existing light photographs.
There are many opportunities for existing light photographs. In interior locations, such as offices and homes, today’s lighting systems are well suited for photography without using the camera’s electronic flash. Existing light photographs may offer an opportunity for better overall lighting than the camera flash will produce.
Images taken under office lighting may produce an off-color result because of the color of the fluorescent lights, but this gener- ally can be corrected to an acceptable level by using the color correction capabilities on many of the image enhancement pro- grams available for both Macintosh and PC computers.
80
To show off a large, almost child-size doll named “Diethard,” a slaved second flash unit was used at approximately five feet from the camera. The QuickTake flash activated the second flash to fire simultaneously. The result was an almost life-like image of the doll. (Doll courtesy of Mac Products).
81
The Wein Ultra Slave 200 can be used to augment the QuickTake 100’s built-in flash. The “dome” on top is a photo slave which senses the light from the QuickTake flash and fires the Ultra Slave flash.
Tools and Techniques for Better Results
Using Additional Flash Units
The built-in flash of the QuickTake camera was designed for operation from four to nine feet. For many situations, this works extremely well. Even with close-up filters, the flash is surprisingly adequate and produces good results.
A great deal more can be done with the camera by using small “shoe mount” flash units equipped with photo slave units that will synchronize these flashes to the original camera flash. Photo slaves detect the camera flash and trigger the flash to which they are connected. “Slaves” manufactured by companies such as Wein Products, Inc., are available from professional photo deal- ers or, for information, write Saunders (address on back cover).
You may have to use a clamp or tape to hold the flash in posi- tion on a stand, but this provides a simple, unsophisticated way to create high quality digital images that go well beyond the ordi- nary point-and-shoot picture.
82
‘1% portrait with the on-camera flash produces a flat photograph with very little modeling in the « Miyht: Here a second slave flash has been used, but too much light,is reaching the subject and suena loss of detail in the face.
1, it A more balanced appearance between the camera flash and the slave operated flash was achie-
rl liy placing a single layer of a handkerchief over the flash. The same result can be obtained by sim- ply moving the flash back. Right: Here two layers of a handkerchief over the flash produced a good I alanee between the two flash units.
83
Additional lighting provides the ability to do far more with the QuickTake camera than most people might imagine. One, two or even three lights can be added to create portraits that will repro- duce better in a publication, but will take only a few minutes extra time to make.
Extra flash units create greater depth, provide shaping of an object, and in general, provide a sense of additional dimension to a photograph.
For portraits, very often a simple main light can be placed above and to the right or left of the camera, with the camera light filling the shadows created by the main light. You ask, why shad- ows? Shadows make faces look real and distinguish features. Highlights are also a result of the flash and produce a pleasing and realistic rendition of the face.
Just look at someone close to you right now and notice that any light that reaches the face creates shadows and highlights. These lighter areas are caused by reflection of light off the nose, forehead, and cheeks. The position of the camera flash does not bring out these highlights but the additional flash units will help create a more pleasing portrait.
A third light can be used as a hair light to separate the individ- ual from the background. In its simplest form, the light may spill on the shoulders, but this again separates the person from the background.
We have spent most of the time, so far, talking about flash for portraits, a useful application for photos from the QuickTake camera, commonly used in newsletters or in other publications. But these additional flash units may also serve to bring out fea- tures in products. These might include surface texture, damage, or even dimensional effects in, for example, a glass container. By changing the angle of the light with an additional slave flash, a whole series of effects can better capture the features of the subject.
If the light is being used close to the subject, you might want to try an old trick for reducing the light striking the subject: put one layer of a handkerchief over the flash, both to soften it and to prevent overexposure of the image.
Instead of a handkerchief, a layer of diffused acetate, a lens wiping tissue, or even a thin tissue paper can work the same way. Sometimes the simplest solutions are the easiest.
84
With the ability of the QuickTake camera to connect with the Macintosh or PC computer, the camera can be operated directly lrom the QuickTake menu. This makes it easy to see test images instantly on your screen without the need to download the images. Installing the software in a Power Book or a notebook computer lets you do the testing virtually anywhere, under any conditions.
The QuickTake camera flash can do an excellent job in its basic four to nine foot range. By adding additional flash, you add additional dimensions and capability to the QuickTake camera. The ordinary person can see the opportunities this provides for enhancing images. The better the image is lit, the easier it will be (o get a quality print or separation for use in a publication.
Close-up Filters
The minimum focus distance for images with the QuickTake cam- era is four feet. If the lens is stopped down because of ample light on the subject, it is possible to get as close as three feet, but you are taking a chance that the image will be out of focus. There is an easy solution available for making close-up photographs with the Apple QuickTake camera.
Just a few of the many close-up and creative filters available from Cokin.
85
A Cokin Close-up Filter #1 has been used to fully fill the frame of the Apple QuickTake Camera with two collector dolls. The camera is 21 inches away from the dolls.
86
Snapshots of vacation memories, such as these boats on the Rhine in front of the Cologne Cathedral, are easy to take using the Apple Quick- Take 100 Camera.
Close-up lenses are available from photo stores, with brand names such as Cokin. These filters are designed to be placed in front of the camera lens to allow closer focus at specific dis- tances. Cokin filters are larger than necessary for the QuickTake 100. However, with a little experimentation they work quite well when attached to the camera with tape or Velcro®.
Another solution is the use of viewfinder correcting filters from Nikon. These are available in a variety of diopters ranging from zero to several plus values and each one allows a different range of close-up photographs when placed in front of the main lens.
You may want to run a test series of images to look at and then erase, using something like the page of a newspaper as a test tar- get. You can determine for yourself what the actual results of the close-up filters are with your QuickTake camera.
One thing you must remember is that the image you see in the viewfinder is not precisely the same image being recorded by the camera lens. Because of an effect called “parallax,” the images’ axes are increasingly different as you bring the camera closer. It is possible that with the #3 close-up filter the image will be cut in half in your viewfinder. Basically you must use a centering point rather than an actual full view of the image. People who have worked with the close-up filters have not found this to be a major problem and a more permanent solution will probably evolve as manufacturers begin to supply accessories for the Apple Quick- Take camera.
Wide Angle Photography
Photographs such as those that might be taken by a real estate agent provide a different challenge for the QuickTake camera. Very few cameras, including 35mm cameras, provide a really wide angle view that would allow photographing room interiors for real estate use.
One solution is the use of wide angle lens adapters that have been available for many years for use with video camcorders. While these may distort some horizontal lines by curving them, they still will allow very dramatic views of large areas of a scene.
If you are using the high resolution mode of the camera with one of these wide angle adapters, you will almost double the area covered, producing a very pleasing and dramatic view. This may
88
A work space in a photo studio photographed with the normal lens of the Apple QuickTake Camera.
A wide-angle adapter available for video camcorders was used below.
This increased the gle coverage of the QuickTake camera, but with a slight sacrifice of image sharpness.
be another case where an additional flash would be required to carry the light farther into the room. Experimentation with slave triggered flash units will allow you to virtually “paint” a scene with a second flash unit.
Many homes today are brightly lit as are many contemporary offices. These should provide no problem for existing light expo- sures. If fluorescent lights are used, the color can be corrected as a post-process step in the computer.
Special Effect Filters
As we will see in Chapter 4, many of the effects from using filters in front of the camera lens in traditional photography are possible with digital effects created in the computer. However, there are still some effects that can be achieved only with the use of filters.
If you visit a well-stocked photo store, you will find displays of filters, along with sample books of the effects that can be pro- duced with a simple camera like the QuickTake 100. There are a few basic things that must be understood about the use of many of the special effect filters.
Many times, an effect is produced when the light source, instead of being a soft fluorescent tube or a plain light bulb, is much sharper, like mercury vapor street lights or the lights used in a stadium. On the other hand, the simplest and most dramatic form of light is the flickering light of a candle.
Diffractor and star filters are probably most interesting for creating unique and dramatic effects in QuickTake photographs. Diffractors create unique patterns by breaking the light into the primary patterns of the source.
On the other hand, star filters diffract the light by creating long rays like you see on television or in photographs of music con- certs. These filters can be rotated and adjusted to maximize the effect. In many cases, it is best to hold the filter to your eye first to see what it will do in a given position. Once you know what rota- tion you want for the filter, then slide it into the same position in the filter holder on the camera.
There are a few other filters that also have interesting effects; some of which can be duplicated using image enhancement soft- ware. For the user who wants to make a simple effect and not spend the time in post-processing, the optical filters may be an effective answer.
90
A Close-up Filter #2 has been complemented by a Cokin Diffuser 1 to produce a soft overall effect of the flower lit with tungsten light.
An unusual appearance of speed has been achieved in this image of a toy train by using a Super Speed A prismatic filter from Cokin. The filter “stretches” the turning wheels of the small locomotive and gives an appearance of motion. The image was made by also using a Cokin Close- up Filter #3.
Don’t be afraid to experiment, since the images can be trans- ferred to your computer screen instantly. | have enjoyed putting a QuickTake camera on a tripod, operating it from the computer, using different filters to make an image, and instantly looking at the image on computer screen.
With the availability of notebook computers, the computer can go anywhere and you can monitor your images as they are crea- ted using the QuickTake software.
92
&
lo produce the starlike effect of the candle flame, a Cokin Star 8 Filter has been used, along with a Close-up Filter #1. The effects produced by optical filters in many cases are not as dramatic as those produced on lilm, but are unique and creative.
Here a Cokin Close-up Filter #1 is used in conjunction with the Cokin Diffractor Cosmos B Filter. The image was made with a single tungsten light; the filters created a series of diffracted images in multiple colors. Subject-to-camera distance was 21 inches.
94
In spite of backlight from the rear windows, the detail in this Photokina ‘94 display was captured by using fill flash from the QuickTake 100’s built-in flash.
A brightly lit interior can often be successfully captured by the Apple QuickTake 100 without the use of additional lighting.
96
Tungsten light has been used to illuminate this silk rose. A Cokin Close- up Filter #2 was used at 15 inches from the subject.
Application Brief - Conventions and Trade Shows
Here is a recent trade show where Apple QuickTake Cameras were being demonstrated. Photos like this provide an accu- rate record of trade show events and displays.
QuickTake images taken of clients can be used for creative marketing on the floor at a trade show, convention or other promotional event. On-demand brochures can be created while a client watches, which include the latest products of interest. Customize the brochure by adding the client’s photo along with an invitation to his own customers to stop into his establishment for a personal demonstration.
The finished brochure plus a disk containing the file can then be given to the client to take to his advertising agency or printer so that additional brochures can be made. This is a very effective new marketing technique made possible by desktop publishing and digital cameras like the Apple Quick- Take.
98
Enhancing, Filing and Storing QuickTake Images
The real power of the QuickTake camera is in the digital file that it creates. Having a photograph in a digital form allows you to immediately use it in numerous applications for both fun and business. At the same time, a whole series of tools is available to allow manipulation, enhancement, or numerous other variations in the use of the image.
It doesn’t take long to learn how to get more out of a Quick- Take digital photograph. Available software will help you to understand how far you can take a QuickTake image.
Using Enhancement Software
Today, more than a dozen software packages are available for enhancing digital photographs in either Macintosh or Windows form. These enhancement packages are to the digital photograph what the darkroom is to traditional film— a means of making bet- ter photographs.
Almost any Macintosh or Windows-based computer can be used, but you must remember that you may need more RAM memory to help speed the processing of photo images. When it comes to disk memory, even the high resolution decompressed QuickTake photograph will fit on a high density floppy disk.
You will probably find that individuals you talk to have strong preferences for particular software packages. Like favorite word processing software, image processing packages become familiar to users, who are reluctant to change. They have already paid the price of learning a particular software.
There have been dramatic developments in almost every image processing package available today, with some software packages already in their fifth version. That means that they have been through a number of alterations to reach today’s level.
Adobe PhotoShop is probably one of the most popular of the image enhancement software available. Initially made for the
99
‘
LL
ual some wl —~ an aia a
'
Apple QuickTake camera is perfect for documenting valuables. These uniforms from a large private collection were photographed and filed for insurance purposes.
100
Macintosh, today Photoshop versions are available for Windows, Sun, and Silicon Graphics UNIX platforms, as well.
Picture Publisher from Micrografx was developed exclusively for Windows, with object functions that allow easy joining of several images into a new image.
Aldus Photo Styler, U-Lead Image Pals, Coral Photo, ZSoft Photofinish, Altimira Composer, and Image-In-Color are just a few in the growing list of software packages already available for image enhancement.
A new and unique product, Live Picture, will soon be avail- able to provide new power to image enhancement, with its ability to open files very quickly ae to simplify the procedures for com- pleting an enhanced image. |
All of today’s enhancement programs use simple icons to indi- cate functions that can be activated by a mouse or graphics tablet (a special electrically sensitive board that will move the cursor more precisely for enhancement applications).
No matter which enhancement program you-choose, you will need at least 8-16 megabytes of RAM and, if you want to use a program such as Photoshop in virtual memory (to speed the pro- gram functions), you might need 200 megabytes of hard drive space for the software. | believe this to be overkill, but some peo- ple feel it is the only way to go. | have been happy with standard Macs and PCs and have found that even with 8 megabytes of RAM and less than 100 megabytes of spare hard disc, everything works well for me.
Most enhancement programs can be broken into a few func- tional categories:
Image quality enhancements that include color, contrast, and brightness functions affecting the entire image or areas of the image.
Filters that do everything from sharpening, smoothing, and add- ing textures, to special effects.
Artistic enhancements such as air brushing or the traditional skills applied by the artist. Masking functions can simplify such artistic manipulations as adding or changing backgrounds.
101
Application Brief - Law Enforcement
Traffic photos can show accident scenes, problem areas, and help to visualize reported problems. These images can be transferred to the computerized record files so that all the information is located in one single digital file.
For crime scene records, by using a combination of low resolution and high resolution images, complete QuickTake photo records can be made of an entire area. These images, in full color, can be used for analysis as well as courtroom presentations. The digital photos can also be moved to the record file as part of the permanent record of an investiga- tion.
The simplicity and quality of the QuickTake camera make it a convenient tool for all levels of law enforcement from routine to complex investigations.
102
Many of today’s programs are easier to learn because, when you bring your cursor to a particular function icon, a verbal description of that icon appears at the top or bottom of your screen. This helps you learn more quickly the functions of the software.
The great feature of the digital software is that the price of experimenting is very low. Yes, some software packages are very costly, but now there are more modest packages that give you the opportunity to learn. And you can undo or remove most effects and revert to your original digital photograph, if all else fails.
Sharpening versus Unsharp Masking
These two filters are in every software package that | can remem- ber using. In some ways, they seem to offer an interesting option to use with QuickTake photos, but they also produce totally dif- ferent results.
Sharpening: This is applied to the light or dark edges of a digital photo. Where much of the picture information is in the form of vertical or horizontal lines like a building photo, sharpening may work well.
Unsharp masking: This gets its name from a traditional approach to sharpening that has been the stock and trade of the printer— using a mask film image, placed so that it is not in contact with the original film emulsion surface. This separation, measured in thousandths of an inch, creates a sharper new image. The proce- dure is duplicated in a mathematical sense in the image enhance- ment software. The overall image is affected by an unsnatp mask, not just the edges within the photo.
Smoothing
Smoothing does just what the name says— it makes whole sec- tions of the image— like a blue sky— smooth, but it should be applied with great care because it will remove a degree of detail or sharpness.
Are there places for smoothing? Certainly for making « ‘a face appear more glamorous or for special effects. Again, though, most people will find that smoothing degrades image sharpness— something that people generally look for in a photo.
103
A normal exposure of the Air Force Academy at Colorado Springs, Colo- rado.
The same photograph using the sharpening command of Aldus Photo- shop software. Note that the image did become sharper.
The same image using the unsharp mask filter of Photoshop. Even the lettering on the plaque below the eagle becomes noticeably sharper and produces, overall, a better result.
An alternative to smoothing is pattern removal. Available in many programs, pattern removal can smooth areas that may have acquired a pattern from the unique camera CCD sensor of the QuickTake camera. Used in moderation, pattern removal will smooth solid color areas without sacrificing the overall sharpness of the image.
Beyond these excellent working digital filters, there are a num- ber of additional filters for all sorts of creative imaging effects. You will find that, with many of your QuickTake photos, you can try such things as solarizations, posterizations, or other effects that were the domain of the advanced photographer. Now these are as accessible as the keyboard of your computer.
When you combine the filters that come with software enhancement packages like Kai’s Power Tools, Fractal Design Painter, Fauve Matisse, and others, you have an unlimited num- ber of possibilities, all of which begin with photos from your QuickTake camera.
105
To achieve this unusual view of the BCE Place in Toronto, Canada, the image was first processed through the unsharp mask filter of Picture Publisher software. Then the remaining image was posterized to create a unique final photograph.
106
High resolution photographs from the Apple QuickTake 100 camera can be used effectively as images on Kodak Portfolio Photo CDs. Kodak Arrange-It or Create-It software allows QuickTake images to be used, along with other images, graphics and sound, for the production of a fin- ished Portfolio disc.
Modifying Brightness, Contrast and Colors
It is easy to do, but when modifying brightness, contrast, or colors of a QuickTake photo, the best advice is ‘go slow.’ Part of the reason for this is the difficulty of finding a simple system of color management.
You can look at your QuickTake photos on almost’any color or black-and-white screen. If you have a notebook computer with a black-and-white screen, you will see a representation of your photo, but you may not see the full gray scale image. If you have at least a VGA or, better still, a SVGA color screen, you will be able to evaluate the quality of the digital photo.
You must also consider whether the image on your color monitor looks the same as an image you might send to someone else or to a service bureau for printing on a color digita] “output printer. You could obtain your own color inkjet or dye subli- mation printer. Today, the price and availability of these printers make this option increasingly practicable.
107
Another unique effect available from several enhancement packages, such as Fractal Design Painter or Fauve Matisse, allows a color digital photograph to be reproduced in any number of artistic forms such as watercolor, oil paint, charcoal, pencil, and others. Here the photograph has been reproduced as a watercolor giving the soft rich look of a clas- sic painting to a simple photograph.
Several color management systems are available today for managing a variety of color input and output devices; these can assure you that the color you see is the color you will get when you send the color digital information to a printer or a service bureau.
If you do not have a color management system, then you may simply have to depend on a regular testing program, in which you take an image that you keep as a standard— a photograph with a good range of colors and with a particularly good fleshtone— and use this to measure visually how your system is doing or what differences you can expect in what you see and what you get.
There are a lot of variations in the way software enhancement program controls work. Some programs have what they call joy sticks or on screen representations of the game controls we use. The sticks move in a full 360 degree rotation and the more you
108
- ~
vr
Art Deco building, Old Miami Beach, Florida (high resolution). The soft pastel colors of the oceanside buildings are accurately reproduced by the Apple QuickTake Camera.
Lilac in bloom, Highland Park, Rochester, New York (high resolution). By using a #1 close-up filter, it was possible to make a full-frame photo- graph of only a few lilac blossoms. The camera’s metering system accu- rately exposed the backlighted image.
Pansy bed, Highland Park, Rochester, New York (high resolution). Flow- ers are always great subjects for color photographs. This image could be the start of a number of other interpretations through the use of digital enhancement software.
Pansies, Highland Park, Rochester, New York (high resolution). #1 close- up filter allowed a camera-to-subject distance of 24 inches.
Curbside flowers, San Francisco, California (high resolution). It is rare for flowers not to make an enjoyable photo. Here, the whites are espe- cially bright, yet the pastel yellows, browns, and pinks are all faithfully reproduced in this high resolution image.
Garden of the Gods, Colorado Springs, Colorado (high resolution). This photo would have been best taken in the early morning. The image could be easily improved by sharpening and by using digital enhance- ment software to sharpen and lighten the foreground.
View of San Francisco Bay from the Presidio, San Francisco, California (high resolution). The dark objects on the left help to frame the waters of San Francisco Bay.
Palace of Fine Arts, San Francisco, California (high resolution). The tree in the foreground helps to frame the pond and water spray and the Roman-style rotunda.
Pacific Ocean at Sutro Baths, San Francisco, California (high resolution).
t as eS rs a
Angels versus Yankees baseball game, Anaheim, California (high resolu- tion). This is a perfect place to turn off the flash and use the bright field lights for exposure.
Street scene, Venice, California (high resolution). The QuickTake’‘s slo- west shutter speed is 1/30 second. This will freeze action so there is little chance of camera shake or blur caused by wind blown subjects as in this photo.
- Shirts | Shorts |
CRC EES RM ad LD)
Soa
Store window, San Francisco, California (high resolution).
Entrance to Chinatown, San Francisco, California (high resolution). It was necessary to find the right moment for this photo since so much traffic enters this gateway.
Toronto Government Center called “Eye of the City” (high resolution). The Apple QuickTake Camera clearly captured all of the various textures in this scene.
116
move away from the center, the more the color, contrast, or brightness is affected. Usually, colors are controlled separately. Separate functions are used for contrast and brightness, but these are usually interdependent. The values you chose will be stored at the same time you save your image. Remember, if you have not properly exposed an image, you may be limited in the correc- tion you can apply.
With most digital photos, you will be surprised at the varia- tions you can apply to the image to help create a much improved and overall more acceptable picture.
There is another approach that may be easier if you are not experienced in the fine points of image enhancements. Most pro- grams show you a variety of images at different color balances, contrasts and brightness. You can then select the image that is most pleasing to you for your final result.
In some cases, you may want to use a color that is not exactly like the original image. For example, you might want a touch of blue in a night scene to convey the night effect or a warm color for an early morning or late evening photo. -
When you start to work with color, contrast, and brightness changes, take them in small increments until you begin to under- stand what your particular monitor and output device or service will do with your photo. Most of the images that | have seen from the QuickTake camera have needed very little in the way of cor- rections. This can be attributed to the 24-bit color that produces a surprisingly good digital color photo.
Storing Images QuickTake photo images, as you remember, are initially available as QTK files, a highly compressed format with 32 standard resolu- tion images or 8 high resolution images taking up one megabyte of storage space. For many people, this may be an excellent way of cataloging QuickTake photos. It is an efficient storage mode, but to retrieve the images in a more universally usable file format, it will be necessary to use the QuickTake software to perform a “Save As” function.
It is important that camera images be renamed when they are stored. The camera labels all pictures “IMAGE (with the frame
117
number)”. If the images are not renamed, older images can be written over accidentally.
The fastest and probably most efficient storage available today is the magnetic hard disk. Available in sizes up to several gigaby- tes (a thousand megabytes), some versions are removable so that they can be carried from computer to computer if the same drive is available in several computers.
Because of the size of decompressed files (a little over 200K for standard resolution and about 900K for high resolution photos), high density 3-1/2 inch floppy discs work well. The only problem is that you will need a separate disc for each image in high resolution or one high and two standard resolution images will fit a single HD disk.
Image libraries can be stored on optical media as well. Eras- able optical media are more costly, but offer large capacities up to 250 megabytes.
Magnetic tape can also be an efficient storage medium, but because of the linear nature of tape, finding images is time con- suming; the tape must be run through a reader each time to find a single image.
One other option worth mentioning is the Kodak Photo CD Portfolio disc. With the advent of Arrange-It and Create-It soft- ware now for the Macintosh and soon for Windows, you can transfer QuickTake photos to the Photo CD format for storage or photo and sound presentations.
Building Image Files
Storage of photo images has become easier with the addition of image filing capability to a number of software programs origi- nally designed for text storage and retrieval only. Every major word processing program today will place photos anywhere on the page either in color or black-and-white. In addition, infobase programs such as Folio can also handle images as part of their document maintenance. This new capability makes it easy to incorporate photographs in insurance documentation, product reports, and in as many ways as we Can imagine.
These programs will accept one or more of the standard image formats as part of their storage or processing capability. For the business person or any home user, these new photo management tools will present more information more easily than ever.
118
A single high resolution QuickTake image can be stored on a standard 3-1/2 inch 1.4Mb High Density disc such as this.
Choosing a File Format
There is still a mystique about which format to use, partly since, even with formats such as TIFF, there are actually a variety of TIFF formats, not just one. Certainly, this can be confusing, but the answer is to try the format you already have processed in your software and see if it downloads.
In the Macintosh environment, PICT is the format most often used by almost all Macintosh programs to read images. In the QuickTime Macintosh software, three iterations of PICT soft- ware— Least compression, Average compression, and Most com- pression—are offered. The actual compression is JPEG, but you need only use the QuickTime extension.
For the Windows environment, your choices include PICT QuickTake format. This is the same as used in the Macintosh computer but doesn’t require the QuickTime extension. Tagged Image File Format, or TIFF, is the common format for storing images in various resolutions.
119
BMP is commonly used in Windows, while PCX is used for the Paintbrush application on DOS and Windows computers. JPEG is an international standard developed by the Joint Photographic Experts Group. The QuickTake software gives you a range of JPEG formats, from least compression (high quality) to most com- pression (some loss of image quality).
It’s All Up To You!
The opportunities and choices for digital imaging are yours. The QuickTake digital photograph is a beginning. Here we have talked about the enhancement of the digital photo and some ideas of what you could do with the image. The next chapter, will focus on publishing and the digital photograph.
120
Application Brief - Retailing
The QuickTake 100 is well-suited for pictures of store interi- ors and exteriors. Here, a shopping mall entrance and its related components are shown clearly. This can be used as part of a circular or reference package for the particular cen- ter and its marketing.
Fashions, displays, and products are all potential uses for QuickTake photography. Fashion and accessories photo- graphs can be built into files that could be called to a screen by sales people.
Records of displays can help in planning new marketing strategies. Product photographs, in digital form, could be used in advertisements, circulars or flyers to reduce the cost of ad production.
Using available image enhancement software, it is possible to take samples of new products and insert them into new images to show how store displays will look with new prod- ucts or displays added.
ae
121
The meeting hall of Provincetown on Cape Cod is a classic building. Even the details of a small ladder that has been left suspended by the roof tower are captured faithfully by the Apple QuickTake.
122
Publishing Apple QuickTake Photographs
The Apple QuickTake 100 camera represents one of the easiest and fastest ways to obtain photos for color or black-and-white publication. Once the province of sophisticated publishing soft- ware, today options for the integration of images exist in every major word processing software program.
Dedicated publishing packages serve many purposes and offer choices that go beyond those of word processing. But for many applications you will find it easier and friendlier to use word pro- cessing, possibly a software program you already have in your computer.
Programs such as Aldus PageMaker, Corel Ventura, and QuarkXpress can handle the needs of either Macintosh or Win- dows computers. The difference in these software programs is their ability to manage a variety of very specialized tasks like color trapping— making sure that no white space shows around a photo, for example, in an ad layout.
Photographs for Publication
One of the first issues you must address is the file image format needed for the particular publication or word processing package you will use. While some packages accept more than one file for- mat, others are limited to a single format like PICT for the Macin- tosh-based software and BMP for the Windows environment.
You will be making the original photograph in color, but the choice of black-and-white for the handling of the image can be made when you bring the photo into an enhancement package in order to adjust contrast, color or density. You may want to remove some of the image artifacts with optional filters, remove backgrounds, or perform other image improvement steps.- —
Cropping the photo to its final form is again a function most easily done in your enhancement software. If you want to retain the full original image, rename the cropped photo so that the
123
original is not altered. | like to library the original QuickTake filed image so | can always go back to the original if | wish.
While we think of publishing as. printing, or today, as output- ting final copy on a digital laser copier, consider publishing photos as single images on available color printers. These can range from thermal wax, to dye sublimation, to inkjet color prints. Photocopies may also be another approach, with the advent of process while-you-wait units such as the Metrum and Pictrogra- phy printer/processors.
Most of these printing services are available from local service bureaus. Today, copy centers are becoming high-powered loca- tions for the final production of full-color images or printed pages of all types.
While | would not recommend it, it is possible to print a high resolution QuickTake photo up to 16 x 20 inches using either an electrostatic or inkjet printer. Viewed at a normal viewing dis- tance (2 times the diagonal), a surprisingly good image appears. The trick is to use all the sharpness of the original image by being careful not to over enhance the image through too much manipu- lation. That’s why it’s valuable to file the original image in its QuickTake compressed form.
Improving Photographs for Publication
It would be great if every photo we made with the Apple Quick- Take was perfect, but there will be times when the subject is too close or too far from the flash, take pictures when the light is not sufficient, or get too close to our subject.
If the photograph is to be used for publication, we should include, when we take the photo, only what we need to tell our story— not too much background unless it provides valuable con- text— like a portrait next to a new piece of machinery in a plant.
It is important to remember that the QuickTake camera sees about 20% more than the image you see in the viewfinder. If there is more than you need in the photo, you can crop using one of the image enhancement software programs.
If the photo contains many vertical lines and you used stan- dard resolution, consider using the sharpening function of your enhancement software to make those lines clearer. As mentioned earlier, some artifacts may appear due to the camera CCD color filter.
124
Application Brief - Newspapers
Shown here is an announcement photo that can be used in a TIFF file format on a disk for release to many publications. The image was captured in high resolution mode.
For many of the everyday photographs, the digital image can simplify the work of reporters and provide a source of additional revenue by making thumbnail photographs for use in classified ads. The QuickTake photograph can be brought directly into modern newspaper layout systems to speed pro- duction and lower costs.
Standard resolution images are best used at under 2- inches in width. Use high resolution mode for larger images.
125
An advantage is that we have the ability to control what we do and how much we do to our photo, but we can also return to our original image at any time if we are not happy with what we have done.
Contrast and brightness are also important factors in producing an image for publication. Most of the time, the original image will be perfectly suited for publication. Occasionally, though, the photo may have been made with less than adequate light, or the lighting may have produced an image that is too contrasty or too flat for the best reproduction.
Now here is a practical reason to try your contrast and bright- ness enhancement functions. As mentioned before, proceed slowly; don’t try and make large steps. If you don’t like the result, you can use the software command for undoing previous changes in brightness or contrast. Every enhancement program has these. The latest software even allows you to go back several steps in correcting what you have done.
When you alter the color, brightness, or contrast of the photo for publication or printing, it is important to understand the medium that you will be using for your final output. When | was doing the color proofs for this book, | felt ‘t was important, unless carefully noted, that the images be accurate representations of the photos | had made. | found that the Sony printer and my screen were well matched so that what | saw was what | got, and | made no changes in my images.
Having the ability to improve the qualities of your photo for publication is like having a true “digital darkroom,” but without the fuss and expense of the photo darkroom of old.’You can improve your work, modify it and still go back to your original image at any moment in the process.
Using Desktop Publishing Packages
First, what is a desktop publishing package? A true desktop pub- lishing (DTP) package is one that focuses primarily on the word publish. Not only does the DTP package put the words you need in the right style, columns in place, headlines to fit, and so forth, it also has provisions for combining text and images for printing ona primary press.
126
Application Brief - Jewelry
Jewelry is a challenge to photograph, but QuickTake photo- graphs using close-up lenses can show off attractive jewelry and provide a record of the pieces that can be incorporated with printed insurance records.
Jewelry often benefits from the light of spotlights. This form of specular light will enhance the appearance of metal- lic jewelry and works well with accessory “Star” filters. When using spotlights, it is not hard to get sufficient light for the camera, but for best results, a tripod will assure the sharpest images possible.
For some jewelry, with large, smooth metallic surfaces, you might want to use tungsten light through heavy fiberglass or matte-acetate filters. This will provide even lighting to a wide area. Lights with umbrella reflectors also work well.
127
While a word processing package will insert images in the text, the DTP program will even produce screened separations for use on a printing press. This is an important step if your final result is to be more than a number of copies from a desktop printer or laser color copier.
Because of what they can do, DTP software packages also take a longer time to learn. They involve a new vocabulary— that of the printer— and new techniques. If your QuickTake photos will be going to a printer or service bureau for production, you should consider a true DTP software package like QuarkXpress, Page- Maker, or Corel Ventura Publisher.
A DTP program provides the capability for editing text, the ability to layout material for the page, and type and image con- trol. The finished product of a DTP program should be ready for the printer to produce final films for platemaking (plates are used to transfer inks in the printing process).
The color images for DTP will be converted from their original RGB (red, green, blue), to CYMK (cyan, yellow, magenta, and black), the colors that printers use for reproduction. It is possible to produce black using only CYM inks, but the actual black image is needed for printing text and for producing the image sharpness that people expect from quality color printing.
Sizing QuickTake Photos for Prints and Screens
As mentioned earlier, it is possible, with an electrostatic plotter or inkjet, to go as large as 16 x 20 inches from a high resolution QuickTake photograph. While this is not a recommended size, it illustrates that there is more to a digital photograph than simply a numbers game— counting pixels.
Pixel counts are important as a way of determining the best size for publishing halftones. But then, you can also use the inter- polating capability of enhancement software programs such as Photoshop to push the limits of sharpness of an image by 50% or more.
When selecting a halftone and the size of the final image, you must remember that the standard QuickTake image is 320 x 240 pixels and the high resolution image is 640 x 480 pixels. It’s easiest. to use the “Rule of Two.” Take your QuickTake image
128
Application Brief - Archeology
This archeological discovery is recorded faithfully from both a color and detail standpoint using the Apple QuickTake Camera. A Close-up Filter #3 was used at an 8-inch distance to create a sharp, well-detailed image of the lamp. Photo- graphed on a black background, a second slave flash was used for illumination.
Recording objects like this, as they are found is easy for QuickTake photography. Several views of an object can be made and all of these incorporated into computer records for future research and analysis.
For this type of recording, it is best to use a plain back- ground that will contrast with the subject. Several rolled cloth backgrounds could be carried in a tripod case, since the tripod will be a valuable tool for this type of work
129
resolution, divide it by 2, then divide the screen you would like to use and you will have the maximum size image you can make.
For example, if you have a high resolution QuickTake photo and you want to make an 85 line screen print for a newspaper, divide the image resolution by 2, then by 85 (the screen resolu- tion), and you get 2.82 inches by 3.76 inches— the maximum output you can achieve with the QuickTake photo using an 85 line screen, which is typical for a newspaper.
Is the maximum size you can achieve with the QuickTake only for a newspaper? If we had interpolated the result (created another pixel in between each existing pixel by averaging the val- ues on each side of the pixel), we could have gone acceptably to 4.23 by 5.64-inches.
When it comes to printing on color printers, the same “Rule of Two” can be used, but you will find that there are many variables built into color printers that will surprise you when you see the results. Some printers dither, some use error diffusion, some sto- chastic printing. What all of these approaches mean is that you can get larger prints from particular printers than your initial esti- mate might indicate. Keep in mind that your calculation is simply a good guide number— don't be afraid to go larger in size. If the result is satisfactory, that’s what really counts.
Just a few things to remember: 300 dpi laser printers are actually the equivalent of a line screen of 53 lines per inch while a moni- tor screen is closer to 150 lines per inch. Use these values to determine your “Rule of Two” limits for standard and high resolu- tion QuickTake photos.
A Real Opportunity
Using QuickTake photos is an easy and inexpensive way to illust- rate your printed pages. With a standard word processing pack- age you can add the informative appeal and expressiveness of photos in black-and-white or color (color is becoming more read- ily available through service centers or in commercial locations). With more sophisticated publishing packages, you can do even more. Either way, QuickTake camera images will meet many of your needs.
130
Try including an image in your next letter or business report, in your own family letters, or bulletins for organizations that you work with. You'll be surprised at how much better you can com- municate with the quality results you can deliver with the Quick- Take camera.
Application Brief - Education
The world of education has no limit of digital photo opportu- nities. These small eight-inch dolls are an example of items that could be used within a school curriculum program. Using the Cokin Close-up Filter #3 and a slave flash, simple but high quality photographs can become part of the curricu- lum for students. |
The simplicity of QuickTake photography makes it easy as a recording medium for students of any age. The digital image can be brought into textual reports to form a greater depth of information with more effective learning.
QuickTake digital photos can easily be used to create digital photo files for students. Pictures can bring into the classroom subjects that students do not see every day in their community. These can relate to their studies in a variety of subjects.
131
A display of lighthouses in a small shop on Cape Cod. The filtered bright light from the window at the top of the picture has not caused any prob- lems. The camera’s flash produced a good overall exposure.
Snapshots such as this photo of a duck are fun to take on a day’s outing. Back home at the computer they can be reviewed and added to an image library.
Creative Uses of QuickTake Photographs
As you use the Apple QuickTake 100 camera, you will begin to understand its unique capabilities. While it is a relatively simple camera, it opens the world of digital imaging to everyone at a reasonable investment.
The applications of the QuickTake camera and the creative ways of using the photos you make are limited only by your imagination. Seldom has there been a tool that has offered such potential for imagination and expression. Let me try to stimulate some thinking about how to make the most of the QuickTake camera, both aesthetically and practically.
Ideas for Using the QuickTake 100 Camera
You have already read a whole series of procedures, and seen some photos, explaining ways of using the QuickTake camera. You will find a longer list in Appendix 1. Maybe one or more of these is an idea you can use. But don’t stop with these: use them as starting points for explorations you make on your own. Nobody said it better than philosopher Alfred North Whitehead, “Ideas won't keep, something must be done about them.”
Getting the Most from Your QuickTake Images
Once you have a photo digitally captured, either in the camera or on a storage medium, your opportunities to do something with that image are just beginning.
Start by looking at the composition of the image. Many times, there are unwanted areas in photographs. Try cropping to get a different composition using an enhancement software package. If you don’t like it, it is easy to return to the original and start again, or you Can save a version and try another.
Maybe you tilted the camera a little and want to straighten the image. Most enhancement programs allow you to rotate the
133
image just the number of degrees you wish. Remember, this is a fairly complex operation since it involves a great deal of calcula- tion (all digital processing operations in computers are calcula- tions— some of them very intensive), and it may take several minutes to complete. It is worth the time, though, since it can do so much with your digital photo.
Color is in the eye of the beholder, to paraphrase. Sometimes the scene that you photographed might be rendered in com- pletely different colors. Use your imagination as your “eye.” Sometimes a naturally colored scene can be transformed into a series of warm brown colors. | think of a beautiful watercolor of a New England harbor that was done by a very close friend. She interpreted the scene in tones of brown— the result was truly spectacular. With digital enhancement, you can be just as crea- tive.
These are only a few of the ways that you can get more from of your images. Once they are in a digital form, the rest is up to you.
Combining Images
Once you have your QuickTake photo in a digital form, it’s easy to combine parts of different photos or images to create entirely new images.
Sometimes, you may find that the background for a portrait, or a piece of equipment, is very distracting. Many enhancement pro- grams will do “automatic masking,” in which the software will actually outline a person or piece of machinery. This could also be done by using the “Mask” command and then using the mouse, graphics tablet, or other cursor control device to move the cursor around the area that you wish masked. You can then select whether you want to save the object, remove the back- ground, or create a mask image for building a new background. It sounds a bit complicated, but after a few practice sessions, you will be amazed at what a good job you can do.
Maybe, you would like a picture of two people together, but only have two separate photographs. This will be especially easy as your library of QuickTake images grows. Many of the new enhancement programs allow the single photographs to be treated as objects, made into one photograph, then blended and sized to look as if they were made together.
The whole idea in combining images is to take advantage of
134
Application Brief - Architecture
For both architects and construction firms, the Apple Quick- Take Camera can document building progress. The images can be stored as permanent digital files.
This view of a site under construction in Toronto, Canada was made from an adjacent building. It is easy to see the var- ious details of the construction, placement of equipment, and even men who are at work. Architectural progress pictures, such as this, in digital form can provide full color images for compiling a permanent computer record of a project.
Models and proposed building sites are also easily cap- tured in QuickTake photographs. QuickTake images are per- fect for creating presentation pieces for clients. The photos can be integrated into artwork using many software packages available today such as Pagemaker or QuarkXpress. Models can then be digitally placed into their final setting or finish- ing materials can be changed to give the client an idea of how various options will appear on the finished building.
¥
135
Kai‘s Power Tools has been used to create an unusual image of the Air Force Academy Chapel in Colorado Spring, Colorado. The Glass Lens Bright command has created an effect of viewing a portion of the image through a special image capture lens. This effect is very dramatic.
the power of the digital photograph. Only your imagination will limit the kinds of new images you create.
Using Digital Filters
A digital filter does for the QuickTake photo what optical filters could do only part of the time for traditional photography. Today, almost every image enhancement package comes with a series of digital filters. While the names used for some of the filter effects are new, many are related to traditional photographic effects, such as posterization and solarization.
Most software programs have dozens more digital filters. You can add to this a series of separate programs composed entirely of filters. Kai’s Power Tools is among the best filter packages that can be added to existing enhancement programs to provide still more creative power. Such programs are available for both the Macintosh and Windows environments.
136
Application Brief - Sports
Most people trying to refine a favorite sport can benefit from good action-study photographs. With them the individual can see his form and a good coach can make specific suggestions for improvement. The digital images can be stored for com- parison later and can be transferred to ongoing records of gyms, sports teams, or individually trained participants.
In fitness or rehabilitation centers QuickTake photos are especially valuable since they give individuals the opportu- nity to evaluate their progress. Photos can also be used to show specific exercises being prescribed, especially in sport medicine work where special exercises are often used to strengthen damaged body parts.
137
Filters can be used in many different ways. You may want to take an entire photograph and use a single filter, for an “etching,” or some other texture, effect. For another photograph, you may want to isolate a very small area and create a special effect. Sometimes, for example, the use of a filter on a face can com- pletely change the character of that face.
The best advice regarding the use of filters with QuickTake photographs is to experiment. It takes only a few moments to bring a filter effect to your screen, and then you can decide whether you like it or not. It’s a good idea, even if you have only a black- and-white printer, to make a hard copy of the effect and label it as to what filter you used (and any numerical filter value since most filters can be adjusted), and keep this as a record for future reference. You will like the creativity filters provide and the new dimensions they open for your photo- graphic skills.
Paint Packages
Another approach to doing more with your QuickTake photo- graph is to use one of several different paint packages— such as Fractal Design Painter or Corel Paint— to create new images.
In some ways, paint packages bear a resemblance to the filters found in enhancement packages. They more closely resemble a combination of traditional computer paint software with digital effects. It is possible to make your photograph look like a classic oil painting, watercolor, etching, or other specialized art form.
This becomes particularly interesting when you combine sev- eral different forms into a single photograph, creating an entirely new art form. You will see these images on your color screen and, unless you have a good color printer sitting next to your computer, you will want to take your image to a service bureau for final reproduction.
Almost any photograph lends itself to use with a paint pack- age. Portraits can suddenly become the work of a classic painter, if you choose the brush style of a particular artist. Outdoor scenes can look like spectacular watercolor or charcoal renderings. Even industrial photographs can be made into etchings or representa- tions that will reproduce beautifully in letters, brochures and cat- alogs. Here again, experimentation and practice will show you how far you can go with each image.
138
Application Brief - Travel
Incorporate scenic photographs of the area, such as the Highland Lighthouse on Cape Cod, into a travel brochure or letter to attract visitor’s looking for picturesque vacation spots.
QuickTake photographs can become part of the library for both the individual and the professional travel agent. By hav- ing these QuickTake photographs available, the individual or agent can quickly prepare multimedia presentations and inte- grate full color images into letters, proposals or program schedules. When using visual images, the sense of excitement is heightened for the potential traveler. '
The camera makes it easy for a tour director to capture scenes of his group’s travel and later provide a good sum- mary along with a thank you note to each tour participant. These can also be sent to previous clients in a follow-up let- ter to remind them of the wonderful time and re-enlist them for next year’s trip.
139
You will find that the use of digital effects from paint packages may help you make larger prints than you normally expect from the QuickTake camera. The final. result will be left to the eye of the beholder.
The Creative Eye
In photography with the QuickTake camera, everything begins with the scene as your eye sees it. Following simple rules of com- position can help make your photographs more powerful and meaningful.
For composition, you might want to read a basic book on sketching or painting. There are simple ideas, like the direction in which items should flow in a photograph, that will add power to the final image.
Keep extraneous items out of your photos. As you look through the viewfinder of the camera, take a moment to make sure that there are no distracting objects that could be eliminated by mov- ing your Camera position.
The beauty of the digital photograph is that the distracting object can be removed later, at the computer, but you can save yourself extra work by taking time when you make the original photograph. The creative eye will see that ordinary objects, when captured by your camera, can become extraordinary images. Sunsets, children at play, even a person on a park bench may become a creative statement.
There are many ordinary “assignments” for which the Quick- Take camera will be helpful. You can make valuable records of anything from a damaged automobile to a home for sale. Yet with an extra moment for thought, the creative eye can make that pic- ture tell a better story.
The picture of the damaged car might better be illustrated by using a second flash to illuminate the area of damage. The branch of a tree forming a frame for a picture of a house will make it look like a more inviting home.
Take the time to look carefully through the viewfinder. The results will be better photographs, using the great simplicity of the QuickTake camera combined with the quality of the images the camera is capable of producing.
140
Where Do You Go From Here?
The biggest problem you will encounter with the QuickTake cam- era will be putting it down. It’s almost infectious— everyone who picks it up wants to take more photos.
Practice and experimentation will prove that your own reluc- tance to try things out might be the only limit to what you can do with the QuickTake camera.
If you can, try to keep a record of your QuickTake photographs and how you make them. If you begin to use optical filters, iden- tify in your record what filters you used, distances, etc. When a special situation develops, your record book will be an invalu- able tool in remembering what you were able to do before.
The Apple QuickTake camera provides a unique opportunity for learning about digital photography. Your QuickTake photos will surprise and delight you, and, when you try some of the sug- gestions from this book, you will find even greater pleasure from your camera.
141
Application Brief - Medical
With its accurate reproduction of color, the Apple QuickTake camera can show a detail for documenting medical condi- tions. This photo, made with a Cokin Close-up Filter #3, shows an injury just below the ring finger.
Digital color photographs can be extremely useful records of both a patient’s condition and progress. These photo- graphs can be transmitted to other locations for a second opinion and will form accurate reproductions of both the condition and the color as seen on the patient.
The fastest way to send QuickTake photos is by keeping the photos in their original compressed form. This means that other locations would need the same software to view the images. Kits containing the software and the necessary cables are available for both Macintosh and Windows platforms.
142
Tips and Troubleshooting
Here are a number of ideas that come both from Apple and through practical use of the Apple QuickTake 100 camera. Trou- bleshooting may be as simple as turning the camera on; other thoughts may help you find a beginning point to look for the causes of a problem. If all else fails, contact your authorized reseller or Apple customer service for additional help and guid- ance.
Tips - Some Image Basics
A good rule of thumb for image sizing for QuickTake color photos is if the output is 2 inches or under, use standard resolu- tion. For output uses more than 2 inches wide, use the high reso- lution setting. However, if the images are to be used in mono- chrome, you can go larger than 2 inches in width.
If you are doing a lot of downloading of the camera, use the AC adapter. Downloading uses more energy than exposing images. Speaking of downloading, you can speed up handling of photo images if you download images to a disc rather than work- ing on single images from the camera. It is slower to work on images stored on the camera than working from a floppy disc.
One of the most efficient ways of storing QuickTake photos is by keeping them as QuickTake documents in the Macintosh envi- ronment or as QTK files in Windows.
It is easy to forget, but if the QuickTake camera goes to sleep with the lens cover open, you need only press slightly on the exposure button to bring the camera back to life. If you are plugged into the computer, the only way to bring the camera back is by opening and closing the lens cover. :
For close-up photography, as discussed on pages 75- 78, either a close-up filter can be used, or viewfinder diopter lenses that are available from photographic dealers.
143
Overview of San Francisco, California (high resolution). Few cities offer more vantage points for photography than San Francisco.
San Francisco, California from a hilltop highway (high resolution). The combination of dense foreground vegetation and apartment buildings is a pleasing contrast to the high rise buildings of the city.
Flash Tips
Remember to use the flash ON position when strong backlighting is present in the scene. If you are taking a vertical photograph, keep the built-in flash at the top of the camera. Used in the upward position, the light will be more natural. The built-in flash will work as close to the subject as a foot or as far as 12 feet. The ideal flash-to-subject distance is 8 feet.
Sharing Images Between Macintosh and Windows Computers
To transfer QuickTake images from a Macintosh to'a Windows computer, use PC Exchange or a similar program on the Macin- tosh. Copy the Macintosh QuickTake files to a DOS formatted disk, and move them to your computer. You can only transfer images that are in PICT QuickTake or TIFF format.
When going from a Windows computer to a Macintosh, use the same PC Exchange or similar program installed on the Macin- tosh. Only files with QTK extension can be moved. So you can open the images on the Macintosh, you need to assign the file type: Open the PC Exchange control panel on the Macintosh and in the dialog box that appears, click Add.
In the “DOS Suffix” box, type QTK; in the scrollable list, find TeachText, SimpleText, or your favorite image editing application and select it.
Choose PICT from the “Document Type” pop-up menu and click OK. The first PC Exchange dialog box reappears, and the QTK file type has been assigned to the selected application as a PICT file type. Now you can open and view the files in any Mac- intosh application that reads PICT. In addition, if you open an image in QuickTake 1.0, you can save it the other file formats available on the Macintosh (PICT, JPEG, and TIFF).
Troubleshooting
Here are a number of ideas that come both from Apple and from practical use of the Apple QuickTake 100 camera. Troubleshoot- ing may be as simple as turning the camera on; other thoughts may help find a beginning point to look for the causes of a prob- lem. lf all else fails, contact your authorized reseller or Apple cus- tomer service for additional help and guidance.
145
PROBLEM: Your camera will not take pictures.
SUGGESTIONS: |
e Make sure the front lens cover is open and the camera has not gone into sleep mode. If the front lens cover is open, and the back screen is blank, press down on the shutter release or open and close the front lens cover. If you have just taken a picture, there is a 4-second time delay between photographs. If it was a flash picture, the system will not allow you to take another until the flash is fully recycled, which takes about 7 seconds.
e The batteries may be low or dead. Check the back panel win- dow and look at the battery symbol. If it is white, the batteries should be changed or recharged. It is convenient to keep extra batteries or ati extra power supply on hand.
e The batteries may not be correctly installed. When replacing the three batteries, look carefully at the molded diagram that shows battery placement within the compartment.
e You may have taken all the photographs possible with the memory of the camera. If so, this will show on the back of the camera as -0- available for imaging. The camera takes into account a mixture of high resolution and standard resolution images in calculating how much memory is available. Transfer the images to a disk and then press the Erase button, or erase from the computer using the ERASE command in the control panel screen.
e If you have used the camera with your computer, it may still
be plugged into the computer; it will only operate from the computer while it is plugged in.
PROBLEM: The viewfinder appears blank.
SUGGESTIONS: e The lens cover has not been opened.
146
Application Brief - Restaurants and Caterers
Digital photographs of food can be used in a variety of ways. In proposals, colored QuickTake photographs can add excite- ment and show visual appeal of the food being presented. In a restaurant menu, color photographs can make the menu exciting and result in more orders.
This shot of a clambake is intended for use in a caterer’s promotional literature. Sunlight has provided the main light- ing for the scene. The bright colors of the lobster are faith- fully recorded by the Apple QuickTake Camera as is the corn seen to the rear. Even the areas of shadow are printable and can be enhanced through digital software if desired. .
Daily specials can be easily photographed and printed for the menu using available inkjet or dye sub printers. The same can be done with deserts and other specialties. Nothing sells foods like a visual image. As a hotel maitre de once said, “More than half of the eating is in the seeing.” |
147
Application Brief - Research
By photographing an ongoing experiment, a researcher can clearly document the progression of the project. Because the camera records the date and time an image was taken, accu- rate tracking of research development is automatic. By adding the image to a word processing document, observati- ons, notes and data can be included. Images, as well as infor- mation, can be shared with colleaques via a computer net- work service.
For sensitive research, such as development of an unpatented product, the QuickTake Camera is an invaluable tool. Documentation can be a “closed process” with no film to be developed or printed by an outside photo lab. A single person can take the photograph, download the camera to the computer and output a hard copy with minimal instruction. Images can be stored in secured files or on removeable disks for greater security.
Images taken over the course of the research can be easily incorporated into grant or patent applications, as well as reports, presentations and displays to benefit production and sales.
148
Look straight through the viewfinder. If you are looking at an
angle, you may see part of an image or no image at all.
PROBLEM: The flash will not fire.
SUGGESTIONS: e The flash may be set to OFF. Reset using the Flash button, or
open and close the front door to restore the automatic flash.
e The batteries may be low or dead, or may be improperly
installed.
PROBLEM: Computer does not recognize the camera.
SUGGESTIONS:
If the serial port you are using has been used for a modem, a mouse, or some other function, the computer will not recog- nize the camera until the computer has been turned off and rebooted.
If the screen message you receive says “Camera is not responding,” make sure that the cable is installed properly and that the camera is turned on.
Check the back panel of the camera to see that a rotating circle appears. This indicates that hookup to the computer is complete.
Be sure that the batteries have enough power. As pointed out earlier, downloading is the most active use of the camera bat- teries. Using an external power supply is recommended for downloading.
SUGGESTIONS for use with Macintosh computers: e When installing QuickTake software on a Power Macintosh,
make sure you have the version of the software that includes an install disk for the Power Mac.
149
e The AppleTalk network can connect a Macintosh computer
with the QuickTake camera (and other hardware such as a printer). The QuickTake will not turn on AppleTalk. However, AppleTalk must be turned on to use QuickTake software with system software 7.0.1. To turn on AppleTalk, pull the “apple” menu down, select Chooser and click on Active.
Determine whether you have a LocalTalk device connected to the printer port. If you do, use the modem port, if it’s avail- able. Otherwise, if you have a single port, it will be necessary to restart your Macintosh.
If you have a non-LocalTalk device, or no device at all con- nected to the printer port, go to the Network control panel and change the setting from LocalTalk to Remote Only. If you use FEtherTalx Network, leave the setting on EtherTalk, then connect the camera to either port.
SUGGESTIONS for use with Windows
To locate the correct COM port, use the opening screen COM Port software. This clever software will find the optimized COM port on your computer.
Store your images from the QuickTake camera as QTK files. All of the images from a full camera will fit on a high density 3-1/2 inch disk.
Most software programs for enhancement will require a TIFF or JPEG file for processing. JPEG will be more efficient from a storage standpoint, but avoid excessive image compression since this may affect the final quality.
150
Application Portfolio
Sales Presentation
151
A marketing piece can be easily designed and then tailored to interest a specific customer or market segment. Images taken with the QuickTake camera can be inserted in a custo- mized sales presentation or used in a more general brochure.
Take prospective clients on a photographic tour of your company’s products from development to finished goods. By using a QuickTake camera, a customer’s own product can be featured in the brochure, showing the various stages of fac- tory production.
152
153
154
Build consu- mer confi- dence with photographs of skilled employees using state-of- the-art equip- ment while working under clean, safe conditions.
155
BHP HRE Somene oes coaatsee gy
156
Above: Finished goods stacked neatly on the warehouse shelves, ready to be shipped to customers.
Left:
Parts inventories and quality control procedures illustrate the company’s commitment to producing quality, precision prod- ucts. a
157
Ideas for Using
the Apple QuickTake
Advertising sketches Agriculture crop studies Archaeology identification Architectural progress Automobile photographs for insurance
Art idea capture
Assembly line problems
Before and after reconstruc- tion
Brochures and Flyers Business portraits
Catering presentations Chemical production Classroom projects Clothing, fashion Conference attendees Convention display records Cosmetic results
Dating services Dental records
Family gatherings and parties Florist arrangement samples Flower or seedling close-ups Furniture groupings
Home insurance records Houses for sale
158
ID photographs Information kiosks
Janitorial and maintenance operations Jewelry samples
Laboratory research Law enforcement
Manufacturing part defects Market intelligence Medical records
Moving records
New and used cars Newsletters Newspaper photos
Oil field records
Pet records
Photography classes Pharmaceutical production Physical fitness progress Product catalogs
Product photos
Proposal photos
Real estate Retail displays Restaurant operations
School newspapers Sport training progress Storm damage
Travel highlights
Underwater images Utility company surveys
Wedding photography
Yearbook photography
159
Glossary
Access Time - The time required for a memory device to locate and retrieve a specific piece of information.
ADC - See Analog to Digital Converter. ADPCM - See Adaptive Differential Pulse Code Modulation
Adaptive Differential Pulse Code Modulation - A form of digital compression.
Aliasing - A defect introduced when an image is sampled too infrequently to provide an accurate record.
Analog Recording - A method of recording in which the recorded signal continuously matches the original signal in some charac- teristic, such as amplitude or frequency.
Analog Signal - A continuous electrical signal that varies in amplitude or frequency in response to changes in sound, light, heat, position, or pressure.
Analog to Digital Converter (ADC) - Circuit that converts contin- uous analog signals to digital (pulse type) signals.
Application Software - A software program designed for a spe- cific use (such as budgeting or playing games).
Archival Storage - Permanent file storage of information.
Artifact - Visible extraneous information in a signal that results in a defect in the image.
Aspect Ratio - The horizontal size of an image divided by its ver- tical size. A conventional NTSC picture television picture is 4 units wide by 3 units high, giving it an aspect ratio of 4/3. This also may be expressed as 4:3 or “four to three.”
160
Baud Rate - A measure of the rate at which information is trans- mitted. The baud rate of a communications device determines the number of bits per second (BPS) that can be transmitted.
Bit (Binary Digit) - A bit is the smallest unit of data in a computer system. Each bit is represented by a 1 or a O in binary code and represented in a computer by an “on” or “off” electronic pulse.
Bitmapped - Images formed by a series of dots.
Bitmapped File Format - A graphical file format for the Windows environment.
Bits Per Second (BPS) - A measurement of the speed of informa- tion transmission: the number of bits of information transmitted in one second.
Bit Rate - The number of bits transmitted in a set period of time. Usually expressed in bits per second.
BMP - See Bitmapped file format.
Bug - An error or defect that causes a program or device to func- tion improperly. In a computer system, a hardware bug is a defect or error in the equipment; a software bug is an error in the soft-
ware program.
Byte - Pronounced “bite.” A sequence of adjacent bits operated upon as if they were a single unit.
Cathode Ray Tube (CRT) - A television set or monitor that uses an electron gun to generate beams of electrons. These electrons illu- minate specific phosphors on the screen to produce an image. In color sets, the phosphors are red, green, and blue.
CCD - See Charge Coupled Device.
CD - An acronym for Compact Disc.
CD-ROM - See Compact Disc Read-Only-Memory.
161
CD-ROM Drive - A disc drive that is capable of reading informa- tion from a CD.
Central Processing Unit (CPU) - The “brain” of a computer; con- tains internal storage, processing, and control circuitry.
Charge-Coupled Device (CCD) - A device used to convert light into an electronic signal.
Chroma - The amount of color detail in an image.
CMYK - An acronym for Cyan-Magenta-Yellow-blacK used in 4- color printing process.
Color Fringing - Video distortion characterized by ragged separa- tions between contrasting colors along the boundaries of objects in an image. Also called fringing.
Compact Disc (CD) - A CD is a plastic disc used to store informa- tion saved as digital codes. A laser-equipped player is used to read and play back the information.
Compact Disc Read-Only Memory - A CD-ROM is a compact disc that stores large quantities of information in read-only for- mat. Particularly useful for storing graphic images due to the large memory requirements of graphic storage. CD-ROM is considered a computer peripheral.
Composite Signal - The television signal that consists of the video signal (luminance and chrominance), burst signal, and sync signal (horizontal and vertical).
Compression - A technique computers use to reduce the size of a data file, thereby reducing the amount of disk space required to store the data file.
Continuous Tone Imaging - Reproduction of the original scene by producing nearly continuous amounts of cyan, magenta, and yel- low dyes in subtractive systems such as prints, or continuous con- trol of red, green, and blue luminance such as CRT displays.
162
CPU - See Central Processing Unit. CRT - See Cathode Ray Tube. DAC or D/AC - See Digital to Analog Converter.
Data Compression - The use of a coding technique to reduce the volume of stored data.
Definition - The degree of detail or sharpness of a video signal.
Desktop Publishing (DTP) - Using a computer to lay out and typeset a publication.
Digital - Information defined by a series of discrete electrical pulses based on binary coding (1 or 0).
Digital to Analog Converter (DAC or D/AC) - A system that con- verts digital (discrete) signals to analog (continuous) signals.
Digitization - The process of changing an analog signal into a digital (discrete) signal.
Discrete Sampling - The process of taking separate samples and quantizing them so that an image or sound can be represented as either an analog or digital signal.
Dithering - A technique used by some graphics applications to create new colors (or tones) on the monitor by intermingling pixels of different colors.
Edge Enhancement - The processing of an image to increase its sharpness by eliminating artifacts (extraneous information) intro- duced when the image was recorded.
EPROM - See Erasable Programmable Read Only Memory.
Erasable Programmable Read Only Memory - A reuseable chip that holds its memory content until erased with ultraviolet light.
163
Flash EPROM - An EPROM memory chip that can be erased with an electrical current.
GIF - See Graphic Interchange Format.
Graphic Interchange Format - A transfer format used for Compu- serve images.
Half-tone Imaging - A printing process where different sized dots or patterns are used to represent a continuous tone image.
Hard Copy - A copy that you can hold, as a print or a slide.
Hard Disk - A disk drive with high storage capacity. This high storage Capacity is achieved by utilizing a rigid form of magnetic media and extremely close mechanical tolerances.
Hardware - The actual computer equipment, as opposed to “soft- ware.”
Hertz (Hz) - The unit of frequency equal to one cycle per second (cps); one kilohertz (KHz) equals 1,000 cps; one megahertz (MHz) equals 1,000,000 cps.
Hz - See Hertz.
Image Enhancement - Editing or changing a digital image using one of many available digital imaging applications.
Interface - Hardware or software used to connect two computer devices.
1/O-Jargon for “input/output.” - Refers to the information that is input into the system and the resulting information that is output by the system.
Jaggies - More correctly called aliasing. A term used to describe
the jagged, or stairstepped, appearance of diagonal lines in com- puter-generated, bit-mapped graphic images.
164
JPEG - A standardized method for compressing and decompress- ing still images. It typically requires additional hardware to achieve reasonable speeds.
KB - See Kilobyte.
KHz - See Kilohertz.
Kilobyte (KB) - 1024 bytes of data. The memory capacity, espe- cially RAM, of a computer device is generally described in terms of ile
Kilohertz (KHz) - Thousands of cycles per second. Also known as Kilocycles.
LAN - See Local Area Network.
Laser - A device for converting light energy of various frequencies into a concentrated beam of energy with a single frequency and phase.
Luminance - Brightness or overall light intensity.
MB - See Megabyte.
Megabyte (MB) - 1024 Kilobytes (approximately one million bytes).
Megahertz (MHz) - One million Hertz. A unit of frequency equal to one million cycles per second.
MHz - See Megahertz. Microcomputer - See Personal Computer.
Microprocessor - The main processing chip inside a computer or electronic device.
~~
Monitor - A VDT or CRT display. Monitors are either built into computers or available as modular units. Monitors are available in color, gray scale, or monochrome (which can be black and
165
white or black and a color.) The size of the monitor is measured diagonally. Technically, monitors do not include TV tuners alt- hough the meaning of the term monitor is becoming blurred.
Monochrome - Single color, usually used to indicate black and white as in monitors.
National Television Standards Committee (NTSC) - Standard tele- vision broadcasting system used in the United States; it produces 330 lines of horizontal resolution on the TV screen, providing the TV has a comb filter.
NTSC - See National Television Standards Committee.
Optical Disc - A non-magnetic recording disc that is written to and read using a laser beam.
Output - Data that come out of a computer device; also, a video or audio signal that is emitted from a system.
PAL - See Phase Alteration by Line.
Parallel - Description of a particular computer interface; used mainly for printers.
PCX or .PCX - Originally developed for the program PC Paint- brush by ZSoft. A widely used graphic file format in DOS pro- grams.
Peripheral - A piece of equipment that is connected to a com- puter (CPU) and controlled by it, but that is external to it; for example, a printer, scanner a keyboard or a mouse.
Personal Computer - A computer that has all the hardware and software necessary to complete one or more computing tasks, a stand-alone computer system that can be operated by a single person.
Phase Alteration by Line - A common composite color transmis- sion system used in Europe for television.
166
PICT - Apple’s proprietory graphic file format.
Pixel - Derivation of picture element. A measure of resolution that refers to the smallest picture element in a digitized image.
Port - Socket or receptacle for connecting hardware via a cord.
Quantization - The process of converting an analog pixel bright- ness to a digital quantity.
Quantized Levels - The number of levels used by a data system to represent information, e.g., 1 byte (2%) represents 256 levels. If enough quantized levels are used, the human eye cannot distin- guish between the sampled image and the analog image.
RAM - See Random Access Memory.
RAM Card - A card that fits inside a computer and holds the RAM SIMMS.
Random Access - Describes a method of accessing information in a storage device directly, without having to scan through all pre- viously stored material.
Random Access Memory (RAM) - Computer’s working memory, where data and program instructions currently being used are held.
Raster - A pattern of scanning lines that provides uniform cover- age of the display.
Read-Only Memory (ROM) - Memory that contains information that can only be read; it cannot be changed or deleted.
Reduced Instruction Set Computer - A computer architecture that has instructions contained within the computer microprocessor. This allows simple commands for a number of complex computer functions. —
Resolution - The precision at which the smallest details in an image are portrayed.
167
RGB - An acronym for Red-Green-Blue. These are the primary colors, which are used to create full-color images in color televi- sions and monitors.
RISC - See Reduced Instruction Set Computer. ROM - See Read-Only Memory.
RS-232C - A specific kind of connection or port (used with serial interfaces).
Sampling - To deal with something continuous in discrete sec- tions.
SECAM - Refers to the color TV system used in France and most Eastern European countries; sequential lines are scanned instead of alternate lines.
Serial - A kind of interface or port used for printers, modems, and other peripherals.
Signal-to-Noise Ratio (S/N) - The ratio of signal strength to the strength of unwanted, competing signals. The higher this ratio, the clearer the transmission.
S/N - See Signal-to-Noise Ratio.
Soft Display - Refers to the display of images on televisions or computer monitors, versus a paper hardcopy of the image.
Software Program - A set of instructions that tells the computer what to do.
Solid State - Describes an electronic device that uses semicon- ductors instead of vacuum tubes.
SPARC. Scalable Process Advanced RISC Computer or Scalable
Performance ARChitecture - A 32-bit reduced instruction set computer (RISC).
168
Storage Density - The amount of information that can be stored on a disk is referred to as the disk’s storage density.
Store - To save information.
Tagged Image File Format - TIFF files are a standard format for graphic images. TIFF files are stored in bitmapped form.
Thermal Dye Transfer - A printing process that creates hard cop- ies of color images by heating dyes and transferring them to a receiving paper.
TIFF - See Tagged Image File Format.
Write Once-Read Many times (WORM) - Refers to electronic data storage in which the storage space on the optical disk can be written on only once; that is, once the information is stored on the disc, it cannot be edited (Write Once). However, the informa- tion on the disk can be read as many times as desired (Read Many times).
169
Sources
Acer America Corporation 2641 Orchard Pkway
San Jose CA 95134
(408) 432-6200
FAX (408) 456-0471
Adobe Systems, Inc.
1585 Charleston Road Mountain View CA 94039 (415) 961-4400
FAX (415) 961-3769
Aldus Consumer Division (for- merly Silicon Beach Software) 5120 Shoreham Place
San Diego CA 92122
(619) 558-6000
FAX (619) 558-8723
Aldus Corporation
411 First Avenue South Seattle WA 98104 (206) 622-5500
FAX (206) 343-4240
American National Standards Institute - ANSI
11 W. 42nd Street
New York NY 10036
(212) 642-4900
FAX (212) 398-0023
170
American Telephone & Tele- graph - AT&T
295 N. Maple Avenue Basking Ridge NJ 07960 (908) 221-2000
Apple Computer, Inc. 20525 Mariani Avenue
Cupertino CA. 95014
(408) 996-1010 FAX (408) 974-6412
AST Research, Inc. 16215 Alton Pkway Irvine CA 92713 (714) 727-4141
FAX (714) 727-9355
Borland International, Inc. 100 Borland Way
Scotts Valley CA 95066 (408) 431-1000
FAX (408) 431-4113
Broderbund Software, Inc. 500 Redwood Blvd Novato CA 94948
(415) 382-4400
FAX (415) 382-4582
Canon USA, Inc.
One Canon Plaza
Lake Success NY 11042 (516) 488-6700
FAX (516) 488-1648
Casio America
570 Mount Pleasant Avenue Dover NJ 07801
(201) 361-5400
Chinon America, Inc. 615 Hawaii Avenue Torrance CA 90503 (310) 533-0274
FAX (310) 533-0274
Citizen America Corporation 2450 Broadway, Suite 600 Santa Monica CA 90411 (310) 453-0614
FAX (310) 453-2814
Cokin - Cromofilter S.A. 9, rue de l’Annonciation 75016 Paris, France (33.1) 46.47.46.46
FAX (33.1) 42.30.02.75
Compag Computer Corporation P.O. Box 692000
Houston TX 77269
(713) 370-0670
FAX (713) 374-2890
Corel Corporation
1600 Carling Avenue Ottawa Ontario K1Z 8R7 (613) 728-8200
FAX (613) 728-2891
Dell Computer Corporation 9505 Arboretum Blvd Austin TX 78759
(512) 338-4400
FAX (512) 343-3653
Epson America, Inc. 20770 Madrona Avenue Torrance CA 90509 (310) 782-0770
FAX (310) 782-5220
Hewlett-Packard Corporation 3000 Hanover Street
Palo Alto CA 94304
(415) 857-1501
Hitachi America, Computer Division
2000 Sierra Point Pkway Brisbane CA 94005
(415) 589-8300
FAX (415) 583-4207
Hitachi Home Electronics, Inc 389B Steve Reynolds Road Norcross GA 30093
(404) 279-5600
HSC Software
1661 Lincoln Blvd
Santa Monica CA 90404 (310) 392-8441
FAX (310) 392-6015
IBM Corporation Old Orchard Road Armonk NY 10504 (914) 765-1900 FAX (914) 765-6007
171
Intel Corporation 3065 Bowers Avenue Santa Clara CA 95052 (408) 765-8080
FAX (408) 765-1821
JVC Information Products 2903 Bunker Hill Lane Santa Clara CA 95054 (408) 988-7506
FAX (408) 727-7533
Leading Edge Computers 117 Flanders Road Westborough MA 01581 (508) 836-4800
FAX (508) 836-4504
Lexmark International, Inc. 740 New Circle Road NW Lexington KY 40511
(606) 232-2000
FAX (606) 232-2380
Lotus Development Corporation
55 Cambridge Pkway Cambridge MA 02142 (617) 577-8500
FAX (617) 693-1197
Matrox Electronics Systems 1055 Saint Regis Blvd
Dorval Quebec CD H9P 2T4 (514) 685-2630
FAX (514) 685-2853
172
Micrografx, Inc.
1303 E. Arapaho Road Richardson TX 75081 (214) 234-1769
(214) 234-2410
FAX (214) 234-2694
Microsoft Corporation One Microsoft Way Redmond WA 98052 (206) 882-8080
FAX (206) 883-8101
Mitsubishi Electronics America, Inc.
5665 Plaza Drive Cypress CA 90630 (714) 220-2500
FAX (714) 236-6171
Nantucket Corporation 12555 W. Jefferson Blvd Los Angeles CA 90066 (213) 390-7923
FAX (213) 397-5469
NEC Technologies, Inc. 1414 Massachusetts Avenue Boxborough MA 01719 (508) 264-8000
FAX (508) 264-8488
North American Philips Corporation 500 White Plains Road Tarrytown NY 10591 (914) 332-0222
FAX (914) 332-0615
Panasonic
2 Panasonic Way Secaucus NJ 07094 (201) 348-7000
FAX (201) 348-7016
QMS, Inc.
One Magnum Pass Mobile AL 36689 (205) 633-4300 FAX (205) 633-2523
Quark, Inc
1800 Grant Road Denver CO 80203 (303) 894-8888 FAX (303) 894-8899
Radius, Inc
1710 Fortune Drive San Jose CA 95131 (408) 434-1010
FAX (408) 434-0770
Silicon Graphics, Inc
2011 N. Shoreline Blvd Mountain View CA 94039 (415) 960-1980
FAX (415) 961-7849
Sony Microsystems 651 River Oaks Pkway San Jose CA 95134 (408) 434-6644
FAX (408) 954-1057
Sun Microsystems, Inc. 2550 Garcia Avenue Mountain View CA 94043 (415) 960-1300
FAX (415) 969-9131
SuperMac Technology, Inc. 485 Potrero Avenue Sunnyvale CA 94086 (408) 245-2202
FAX (408) 735-7250
Tandem Computer
19191 Vallco Pkwy, LOC 4-40 Cupertino CA 95014
(408) 725-6000
Tandy Corporation 1000 One Tandy Center Fort Worth TX 76102 (817) 390-3700
FAX (817) 390-2774
Technoggin, Inc.
1018 Delta Avenue, Suite 303 Cincinnati, OH 45208
(513) 321-1777
FAX (513) 321-2348
Tektronix, Inc.
26600 Southwest Pkway Wilsonville OR 97070 (503) 685-3150
FAX (503) 685-3063
Texas Instruments, Inc.” 13500 N. Central Expwy. Dallas TX 75265
(214) 995-5900
FAX (214) 995-5000
173
Toshiba America, Inc. Xerox Corporation 375 Park Avenue, Suite 1705 P.O. Box 1600 New York NY 10152 Stamford CT 06904 (212) 308-2040 (203) 968-3000 FAX (212) 838-1179
Zenith Data Systems Toshiba America Information 2150 E. Lake Cook Road
Systems, Inc. Buffalo Grove IL 60089 9740 Irvine Blvd (708) 808-5000 Irvine CA 92713 FAX (708) 808-4434
(714) 583-3000 FAX 714) 583-3499
Ulead Systems
970 W. 190th Street, Suite 520 Torrance, CA 90502
(310) 523-9393
FAX (310) 523-9399
US Copyright Office
101 Independence Avenue Washington DC 20559 (202) 707-3000
FAX (202) 707-8366
WordPerfect Corporation 1555 N. Technology Way Orem UT 84057
(801) 222-5000
FAX (801) 222-5077
WordStar International, Inc. 201 Alameda Del Prado Novato CA 94949
(415) 382-8000
FAX (415) 883-0615
174
Magic Lantern Guides
...take you beyond the camera's instruction manual.
Apple
‘« These books are essential gear, whether you own the camera, are thinking about buying it, or just want to know how it works. 77 Shutterbug Magazine
If you own this camera— step-by- step instructions in an easy-to-under- stand format with tips to help you enjoy photography and take better pictures.
If you’re shopping— Magic Lantern Guides will help you to select the right camera with the features you want.
John Larish has been described as today’s leading “technology evangelist” for electronic photography by Barry Mazor, editor of Advanced Imaging magazine. His many books on electronic imaging, editorial work for leading industry publications, appearance as keynote speaker for the Society of Photographic and Science Technology of Tokyo, Japan, and his live radio broadcasts from Photokina are just some of the activities which have earned him this well-deserved distinction.
Magic Lantern Guides are available for most popular cameras.
ISBN 1-883403-14-6
781883"403140
Division of
SIVER The Saunders Group
PIXEL 21 Jet View Drive
Rochester, NY 14624
Fax (716) 328-5078 9
SepINd5 wsjue7 oibeyy OOT 24V2LYOmo sjddy