3-D image capture for the Joan Flasch Artists� Book by michaelbennett

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									3-D image capture for the Joan Flasch Artists‟ Book Collection

1. set up lights, black velvet, camera, laptop
2. position book and camera
3. shoot using Camera Control Pro, make exposure adjustments as needed
4. open raw camera file in Photoshop
5. align image, crop leaving about 1/4” (at 300dpi) around edge of book
6. save as .tif file
7. resize (1024 pixels on longest side), apply unsharp mask filter (Amount: 50%, Radius:
        1.1 pixels, Threshold: 0 levels); save as .jpg file (quality: 8 [high], Format
        Options: Baseline [Standard])
8. drag and drop .tif into server using Fugu, delete .tif from laptop
9. drag and drop .jpg into server using Finder, delete .jpg from laptop

1. setup issues-
        battery life- the camera does not have plug-in power, so make sure to charge the
        battery at the end of each session

       white balance- cameras are more sensitive than our eyes in detecting the color of
       lights. Our photographic lighting may give pictures a yellowish hue when shot.
       To compensate for this, the camera can take a reading of something that it knows
       is supposed to be white, and adjust its color balance accordingly. This is better
       and easier than making color corrections later.
       In Camera Control Pro (with camera attached via USB), make sure Preset
       Measure is selected in the White Balance menu under the Exposure 2 screen.
       Then go to Camera > Measure White Balance. Place a white piece of paper in
       front of the camera, in the area of shooting, so it completely fills the viewfinder
       (you may need a big piece of paper). Make sure the overhead florescent lights are
       off and the photo lights are on and pointing at the subject. Click the camera
       shutter or press OK on the screen. This can also be done using the camera‟s
       menu.




       aperture priority- turn dial on top of camera to “A.” This will allow you to
       adjust the shutter speed while keeping the same aperture. An ideal aperture for
       shooting 3-D objects is 8. It will allow most or all of the object to be in focus
       without requiring too much light. In this mode, the shutter speed can be controlled
       from Camera Control Pro.
USB type- for Camera Control Pro to recognize the camera- press the MENU
button on the camera, go to the Tool menu (image of a wrench), scroll down to
the USB option, and select M/P.

focus area- the type of auto focus can be set in the Mechanical section of the
Camera Control Pro window. A single focus area is often better for our purposes,
but depending on the shape of your object, you might also try “dynamic area,” or
play with the location of the single focus area (under the Exposure 2 section. This
is also useful if the center of the image is a solid color, and the autofocus can‟t
focus.




metering mode- this is similar to the focus area. It determines how the camera
measures light and sets its shutter speed. Since we are shooting the books on a
black background, “Center-weighted” will be most likely to give you the right
exposure. If the resulting image is over- or underexposed, try making adjustments
to the Exposure Comp. slider in the Exposure 1 section.
2. Position book and camera
        Place the object on the table so that the cover is perpendicular to the camera lens.
        In many cases, it may be difficult to figure out what the “cover” is. In the doll
        house example below, I chose to shoot the model at an angle, showing the front of
        the house and the side with the marker identifying it as a Peter Norton Family
        Christmas Project. Some collection items are a bunch of objects inside a
        nondescript (library-constructed) box. For these works, it is best to spread out the
        pieces and shoot an overview of the whole collection without the box, which isn‟t
        a part of the piece.

       When positioning the lights, look out for odd shadows and glare. Try to get an
       even spread of light across the object. Place the camera as far back from the piece
       as possible, then zoom in until the object fills the viewfinder (with a small border
       of black around each side). This will avoid the lens distortion that occurs with the
       wide-angle lens setting.

       Another consideration to make with lighting is whether to use direct or indirect
       lighting. With our limited equipment, that means either pointing the light(s)
       straight at the object, or pointing them upwards, so that they bounce off of the
       walls or a hand-held piece of paper.




       direct lighting                                 indirect lighting

       With indirect lighting, light falls on the object in a diffuse, soft way. This can
       make the object look smoother and easier to “read.” If the object is reflective
       (such as a glass or plastic piece), it is usually necessary to use indirect lighting to
       avoid glare and hot spots on the image. Direct lighting creates hard shadows, and
       can increase the contrast of an image.

       Here is an example of direct and indirect lighting:
       The direct lighting in the first picture gives the image harder lines, such as the
       shadows under the window and in the doorway. It also made the contrast a bit
       higher, giving the roof a darker hue. It also managed to pick out a few extra
       details from the interior of the house.

       The proximity of the lighting will also affect the quality of the light: the closer the
       lights are to the subject, the harder and less diffuse they will be.

       Make sure you set the white balance after the camera and lights are arranged.
       Bouncing the lights off of the walls can generate a different color balance than
       direct lighting.

       Compare these shots:




       The un-white-balanced image on the left has a brown tint to it, reflecting the wall
       color of the shooting room.

3. Shoot using Camera Control Pro, make exposure adjustments as needed
       You can take the shot from the camera or the laptop. The image will download
       immediately to the viewer. Make sure the object isn‟t cut off or distorted too
       much by the camera (this is mostly a problem if the original object is square, and
       the image looks more like a trapezoid).

       After seeing the digital image, you may have to go back and make slight
       adjustments to the camera, lights or object. However, if it is a question of overall
       brightness, you can play with the Exposure Comp. slider in the Exposure 1
       menu.
       On auto-exposure, the camera can often be wildly wrong, particularly if the object
       is very dark or light-colored.

4. Open raw camera file in Photoshop
       This may take a while to open and convert.

5. Align image, crop leaving about 1/8” (at 300dpi) around edge of object
       Use Show > Grid or [Command] + [„] to display the grid. If the object isn‟t
       straight, go to Image > Rotate Canvas > Arbitrary to nudge the image into
       place.

7. Save as TIFF file
       File > Save As
       You will be creating two different files- an Archival image in TIFF format, and a
       smaller file for the website in JPG format. Set up a file on the desktop where these
       files will be temporarily stored.

       Save the Archival image according to the following naming convention:
       jfabc_accession_number_view.tif
       For example: the Accession Number of a book is “66.8”. The view of this object
       is the cover. All dots or periods in Accession numbers should be converted to
       underscores in the file names and the Archival image will always be saved in the
       TIFF file format. Following these conventions, the file name for our object will
       be: jfabc_66_8_cover.tif

8. Resize file (1024 pixels on longest side), apply unsharp mask filter (Amount: 50%,
       Radius: 1.1 pixels, Threshold: 0 levels), save as JPG file (quality: 8 [high],
       Format Options: Baseline [Standard])

       Save the JPG file using the same naming convention as the TIFF file, but exclude
       the word “cover” from the file name. The file in the above example would be
       saved as: jfabc_66_8.jpg

9. drag and drop TIFF into server using Fugu, then delete TIFF from laptop
10. drag and drop JPG into server using Finder, then delete JPG from laptop

								
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