VDIS10021 Working in Digital Design - Lecture 3 - Creative Practice

VIRTU DESIGN INSTITUTE
Lecturer: Rachel Hawkins
WORKING IN DIGITAL DESIGN
VDIS10021
WORKING WITH PHOTOMEDIA
IN CREATIVE PRACTICE

VIRTU DESIGN INSTITUTE: WORKING IN DIGITAL DESIGN - VDIS10021 2
Working with Photomedia
in Creative Practice
This detailed lecture is broken down into
three key sections.
1. Make Images
2. Get Creative
3. Manage Process
Within this lecture we look at many aspects
of taking photos, making images digital,
image editing and manipulation as well as
how to manage media assets, the process,
copyright and OHS issues.
This lecture also includes some examples
of innovative and creative photomedia
used in advertising as inspiration. These
photographic examples have been heavily
edited in Photoshop to create imaginative
visual effects.
1. MAKE IMAGES
• Take photos
- types of cameras, resolution & quality
- colour cast, catchlights & sunflares
• Make images digital - Scan images
- types of scanners
- file types (pdf, jpg, tiff, gif, png & eps)
- colour, grey balance, tone reproduction, cast removal, end
point accuracy, noise & resolution
2. GET CREATIVE
• Software options
• Explore, play, manipulate and create
• Photoshop
- colour correction
- levels, filters & effects
- colour cast removal
- catchlights
- layers and transparency
- masks
- texture & gradient
- light & shade
3. MANAGE PROCESS
• Workflow & UPDIG
• File storage
- image sizes, storage, sharing files
- version numbering, file tracking
- organisation of assets
- documentation of process for replication
• Copyright and stock images
• OHS Issues
- using cameras, computers, scanners & printers
- sitting at a computer for long periods of time

Taking Photos
Before you begin taking photos it is important to know what
the intention for the use of the image is. If you know the
image will be used for large posters and print you will need
to plan accordingly by setting the camera to a high resolution
setting. You will need to make allowances for memory/data
space. In contrast, if your photography is only for use online
for social media and websites then taking photos on your
mobile device may be suitable. If the images will be used
across several mediums then it is better to capture the images
will high resolution. It is easy to reduce file size but very hard,
and often impossible to increase file size and quality.
For high resolution images, use a good camera to take your
photos.
A quick helpful checklist:
þ Check the image size settings prior to taking your photos
þ Check you have a full battery
þ Check your lens is clean
þ If using film - check you have enough film to take your desired
photos
þ If using digital - check your memory card (SD card) is empty
þ Arrange for a tripod if you require one
þ Research your desired lighting and time your photo shoot
appropriately, or hire lights if desired.
Types of cameras
When choosing what camera to use you will most likely be limited
by what is accessible to you, however, try to use a proper camera
when taking photos that will be printed as they will be larger and
better quality. You have more control over the light and zoom
settings with a camera. It is best to avoid mobile devices such as
smart phones, ipads and tablets when doing photography for print
reproduction.
It can be fun to play with Polaroid cameras. They can generate
unusual visual effect. You can digitise the photos through scanning
the image. The problem with Polaroid is that they are physically
small. A good quality scanner can usually increase the size a bit
however usually not enough for reproduction on a large poster or
billboard.
Taking photos with a camera or smart phone will usually result in a
‘jpg’ file type image.

Resolution - Image size and DPI (dots per inch)
Image sizes and DPI (dots per inch) can be edited in Photoshop. DPI is used to describe the resolution, number of
dots per inch in a digital print and the printing resolution of a hard copy print. Up to a point, printers with higher
DPI produce clearer and more detailed output. As a general guide: 72dpi = screen resolution (low), 300dpi = high
resolution print. For good quality photo reproduction you will need a minimum of 300dpi at actual size.
Photoshop

Colour Casts
A colour cast is a tint of a particular colour, usually unwanted, which
affects the whole of a photographic image evenly.
Certain types of light can cause film and digital cameras to have a
colour cast. In general, the human eye does not notice the unnatural
colour, because our eyes and brains adjust and compensate for different
types of light in ways that cameras
cannot. In film, colour casts can also be
caused by problems in development.
Improper timing or imbalanced chemical
mixtures can cause unwanted casts.
Colour cast can be corrected with photo
filters in Photoshop.
Lens Flare
Lens flare is the light scattered in lens systems
through generally unwanted image formation.
Flare manifests itself in two ways: as visible
artifacts, and as a haze across the image. The
haze makes the image look “washed out”
by reducing contrast and color saturation
(adding light to dark image regions, and
adding white to saturated regions, reducing
their saturation). Visible artifacts, usually in the
shape of the lens iris, are formed when light
follows a pathway through the lens than contains one or more reflections
from the lens surfaces. A flare is particularly caused by a very bright light
sources, most commonly, this occurs when shooting into the sun. It can be
reduced by using a lens hood or other shade.
Catchlight
Catchlight is a light source that causes a
specular highlight in a subject’s eye or an
object to be captured in the image. They are
also referred to as eye lights. A catch light
may be an artifact of the lighting method,
or have been purposely engineered to
add a glint or “spark” to a subject’s eye
during photography. Adding a catch light
can help draw attention to the subject’s
eyes, which may otherwise get lost among
other elements in the scene. Especially in
portraiture, eyes without catch lights are often said to appear dull or
lifeless. Audiences usually perceive eyes without specular highlights to
be lifeless or evil, and for this reason many cinematographers specifically
eliminate catch lights on antagonistic characters.
A catch light is not the same as the red-eye effect; in general, red-eye
is an undesired effect (caused by the reflection of light from the retina
inside the back of the eyeball), while catch lights are often aesthetically
desirable, and produced by light reflecting from the cornea. Lighting is
often arranged in studio portraits specifically to create attractive catch
lights.
As a specific light source, a catch light is usually fairly dim or focused,
as to not affect any other part of the scene or face. Many other lighting
methods, however, are known for the distinctive or unique catch light
they produce. Among those methods are ring lights, which produce
several highlights in a ring, and large soft boxes, which produce large,
square highlights.
A catchlight can be edited, either added or removed, in Photoshop by
using retouching techniques.

File types
The most common image file formats, the most important
for cameras, printing, scanning, and internet use, are JPG,
TIF, PNG, GIF and PDF.
JPG
Digital cameras and web pages normally use JPG files - because JPG
heroically compresses the data to be very much smaller in the file. There
is nothing like a JPG for smaller file sizes, but this is at the cost of image
quality. JPG is used when small file size is more important than
maximum image quality (web pages, email, memory cards, etc). But
JPG is good enough in many cases, if we don’t overdo the compression.
When you choose jpg you need to know two things:
1) JPG should always choose higher Quality and a larger file, and
2) do NOT keep editing and saving your JPG images repeatedly,
because more quality is lost every time you save it as JPG.
TIF (TIFF)
TIF is lossless and is considered the highest quality format for
commercial work. TIF is the most versatile, except that web pages don’t
show TIF files. For other purposes however, TIF does most of anything
you might want, from 1-bit to 48-bit color, RGB, CMYK, LAB, or Indexed
color. This should be your first choice for large print reproduction
artwork.
PDF
PDF files are the best choice for text documents, forms, or other
images containing text. Some programs, like Adobe Acrobat, use OCR
technology to scan the actual characters of the text so you can edit the
text later and search for words or phrases in the document.
GIF
GIF was designed by CompuServe in the early days of computer 8-bit
video, before JPG, for video display at dial up modem speeds. GIF
always uses lossless LZW compression, but it is always an indexed color
file (8-bits, 256 colors maximum), which is poor for 24-bit color photos.
Don’t use indexed color for color photos today, the color is too limited.
GIF is still very good for web graphics (i.e., with a limited number of
colors). For graphics of only a few colors, GIF can be much smaller than
JPG, with more clear pure colors than JPG). I
PNG
PNG can replace GIF today. PNG was invented more recently than the
other file types. One additional feature of PNG is transparency for 24
bit RGB images. Normally PNG files are a little smaller than TIF or GIF
files, but PNG is perhaps slightly slower to read or write. PNG is another
good choice for lossless quality work.
RAW
Camera RAW files are very important of course, but RAW files must be
processed to regular formats (JPG, TIF, etc) to be viewable and usable
in any way. However, the point is that RAW offers substantial benefit in
doing that. Camera RAW images are not RGB (the meaning of RAW),
and must be converted to RGB for any use.

Making Images Digital
- How to scan images
TYPES OF SCANNERS
A scanner (Image Scanner) is a device that optically scans images,
printed text, handwriting, or an object, and converts it to digital data
and/or image. Scanners are commonly used in office environments for
digtising physical documents for record keeping or sharing via email.
There are several types of scanners each with specific strengths; Drum,
Flatbed, CCD scanner, CIS scanner, Film, Roller scanner, 3D scanner,
Planetary scanner and Hand.
Drum Scanner
The drum scanner gets its name from the clear acrylic cylinder, the
drum, on which the original artwork is mounted for scanning. One of the
unique features of drum scanners is the ability to control sample area
and aperture size independently. The sample size is the area that the
scanner encoder reads to create an individual pixel. The aperture is the
actual opening that allows light into the optical bench of the scanner.
The ability to control aperture and sample size separately is particularly
useful for smoothing film grain when scanning black-and white and
color negative originals. Drum scanners are capable of scanning both
reflective and transmissive originals that are mounted on an acrylic
cylinder, the scanner drum, which rotates at high speed while it passes
the object being scanned in front of precision optics that deliver the
image information.
Flatbed Scanners
CCD scanner - A flatbed scanner is usually composed of a glass pane,
under which there is a bright light which illuminates the pane, and a
moving optical array in CCD scanning. CCD-type scanners typically
contain three rows (arrays) of sensors with red, green, and blue filters.
CIS scanner - CIS scanning consists of a moving set of red, green and
blue LEDs strobed for illumination and a connected monochromatic
photodiode array under a rod lens array for light collection. Images
to be scanned are placed face down on the glass, an opaque cover
is lowered over it to exclude ambient light, and the sensor array and
light source move across the pane, reading the entire area. An image is
therefore visible to the detector only because of the light it reflects.
Film Scanner
“Slide” (positive) or negative film can be scanned in equipment specially
manufactured for this purpose. Usually, uncut film strips of up to six
frames, or four mounted slides, are inserted in a carrier, which is moved
by a stepper motor across a lens and CCD sensor inside the scanner.
Some models are mainly used for same-size scans.
Roller Scanner
Scanners are available that pull a flat sheet over the scanning element
between rotating rollers. They can only handle single sheets up to a
specified width (typically about 210 mm, the width of many printed
letters and documents), but can be very compact, just requiring a pair of
narrow rollers between which the document is passed.
3D scanner
3D scanners collect data on the three-dimensional shape and
appearance of an object. A 3D scanner is a device that analyzes a real-
world object or environment to collect data on its shape and possibly
its appearance (i.e. color). The collected data can then be used to
construct digital three-dimensional models.

Planetary Scanner
A planetary scanner (also called an orbital scanner) is a type of image
scanner for making scans of rare books and other easily damaged
documents as well as delicate objects without physical contact. In
essence, such a scanner is a mounted camera taking photos of a well-
lit environment. Planetary scanners allow for books to open to a full
180 degrees and have special features that protect the book binding
from being damaged. Many of those scanners are equipped with self-
balancing book cradles, gaps for the binding to be placed in, and
pressure-sensitive glass controls.
Hand Held Scanner
Hand held document scanners are manual devices that are dragged
across the surface of the image to be scanned by hand. Scanning
documents in this manner requires a steady hand, as an uneven
scanning rate produces distorted images; an indicator light on the
scanner indicates if motion is too fast. They typically have a “start”
button, which is held by the user for the duration of the scan; some
switches to set the optical resolution; and a roller, which generates
a clock pulse for synchronization with the computer. They are also
available for 3D scanning.
Drum scanner
3D scanner

Scanning - Setting your image preferences
Every scanner will have it’s own scanning software. Inexpensive DIY scanners will have basic software allowing the user some
uncomplicated basic control options for choosing the resolution, file size, file type, black & white, colour or grey scale and
sometimes brightness and contrast tools. More advanced/quality/expensive scanners software will offer the user far more control
and options for colour management.

Scanning
- Adjusting Colour, Grey
Balance & Tone
More advanced/quality/expensive scanners software will offer
the user a large amount of control and options for colour
management. Amongst these there is controls for Grey
Balance, Tone and Saturation. Editing these aspects relies on
good screen calibration and a well trained human eye.
Grey Balance is the balance between CMY (Cyan, Magenta &
Yellow) colors required to produce neutral greys.
Tone is a quality of color. It has to do with whether or not a
color is warm or cold, bright or dull, light or dim and pure.
Saturation is used to describe the intensity of color in the
image. A saturated image has overly bright colors. You can
increase saturation on under-exposed images, or vise versa.

Software Options
Digital and Graphic designers are required to have advanced skills
in industry standard design softwares. The most commonly used
design package is Adobe Creative Suite consisting of Illustrator,
Photoshop, InDesign, Acrobat Professional, Dreamweaver,
Fireworks and Flash. Photoshop and InDesign are the software
most applicable to this subject and working with photomedia for
print and web.
This course includes Photoshop and InDesign tutorials.
PLAY - Trial and error is the best way to learn.
Although I did some basic subjects in Photoshop and InDesign
during my degree, I categorise myself as self taught. 90% of my
software skills were learnt by trial and error, while on the job and
via online tutorials.
ONLINE TUTORIALS - I have provided some video tutorials for
Photoshop and InDesign. It is a great way to learn software. If you
can’t work out how to do something, look for a tutorial on youtube
or through sites like www.lynda.com. Alternatively post your
questions on a thread in the forum and I will post an answer or
tutorial to instruct you.
GET THE SOFTWARE:
Get the Adobe CC suite on a 30 DAY FREE TRIAL. If you have
already used your 30 day free trial, they offer a reasonable student
package for $14.99/month.
SOFTWARE ALTERNATIVES - If you are looking for free
software alternatives, the following options have good reviews.
For Photography:
GIMP - GIMP is the GNU Image Manipulation Program. It is
a freely distributed piece of software for such tasks as photo
retouching, image composition and image authoring.
http://www.gimp.org/
Portrait Pro - PortraitPro is new portrait airbrushing software
that has been “trained” in human beauty. Exceptionally fast
and easy to use, and capable of the highest quality touch up, it
lets you improve your photos instantly, just by moving sliders.
http://www.portraitprofessional.com/
For Page Layout:
Scribus - Scribus is an Open Source program that brings
professional page layout with a combination of press-ready
output and new approaches to page design. Scribus supports
professional publishing features, such as color separations,
CMYK and spot colors, ICC color management, and versatile
PDF creation.
http://www.scribus.net/
PagePlus Starter Edition - Create posters, flyers, business
cards, save and edit PDF files, and much more. PagePlus is
versatile and easy-to-use desktop publisher. An integrated
word processor, logo designer and photo editing lab make
it easy to create attractive documents, while intelligent
alignment tools give you neat layouts effortlessly.
http://www.serif.com/desktop-publishing-software/

Explore, play,
manipulate & create
Your photomedia capabilities are only limited by your
imagination and your willingness to experiment with
both your photography and photo editing skills.
The tasks in this course ask you to explore
photography and be imaginative with photo
manipulation.
The key to a great outcome is a good starting point.
Using good quality imagery as a key starting point
to beautiful, imaginative, thought provoking and
interesting work. Don’t forget to have fun too.
Two of the worlds most famous photographic artists
are introduced below. Annie Liebovitz has been
extremely successful in the commercial world while
Jerry Uelsman has chosen to dedicate himself to his
art rejecting commercial opportunities. They develop
complex original photo media that is appreciated
world wide. The following pages include some
examples of their work.
Photoshop
When editing your photos in Photoshop the key tasks
and tools that you will use/address are:
• Colour correction
• Levels, filters & effects
• Colour cast removal
• Catchlights
• Layers and transparency
• Masks
• Texture, gradient & noise
• Light & shade
• Compositions
«Please refer to the Software
Tutorials in the Lectures Tab «
There are several Photoshop tutorials that will be of
use to you. Some of the tutorials I have found for you
on youtube and others I have created.

ANNIE LIEBOVITZ
Annie Leibovitz was born on October 2, 1949, in Westbury, Connecticut. Annie Liebovitz does fine photographic portraits and is most well known
for her work with Vanity Fair and Rolling Stone magazine. Her photographs are intimate, and describe the subject. She was unafraid of falling in love
with the people she photographed. Widely considered one of America�s best portrait photographers, Annie Leibovitz started her career as a staff
photographer for start-up rock music magazine Rolling Stone, in 1970. Two years later, Leibovitz was chief photographer for the magazine, a position
she would hold for 10 years. Leibovitz is noted for her use of bold primary colors and surprising poses. Many of her Rolling Stone covers have become
collector’s items. In 1983, Leibovitz accepted a position with Vanity Fair, which gave her a wider pool of subjects to work with. She has made many
memorable covers, including two of Demi Moore, naked, and one of Whoopi Goldberg, half submerged in a bathtub of milk. In 1987, Leibovitz won a
Clio award for her portraits of celebrity holders of “American Express” cards.
Read more: http://www.answers.com/topic/annie-leibovitz#ixzz36Sjdnr5w

JERRY UELSMAN
Jerry Uelsman created unique images with composite photographs. Being very talented in the darkroom, he used this skill in creating his composites.
He never used digital cameras, since he felt that his creative process was more suited to the darkroom. Uelsmann was born in Detroit, Michigan in
1934. Uelsmann produced his composite photographs with multiple negatives and extensive darkroom work. He used up to a dozen enlargers at a
time to produce his final images, and has a large archive of negatives that he has shot over the years. Uelsmann didn’t care about the boundaries
given by the Photo Secessionists or other realists at the time, he simply wished to share with the viewer the images from his imagination and
saw photomontage as the means by which to do so -“allegorical surrealist imagery of the unfathomable”. Despite his works’ affinity with digital
techniques, Uelsmann continues to use traditional equipment. “I am sympathetic to the current digital revolution and excited by the visual options
created by the computer, “however I feel my creative process remains intrinsically linked to the alchemy of the darkroom.”
http://en.wikipedia.org/wiki/Jerry_Uelsmann

Workflow & UPDIG
During the industry’s migration from analog to digital photography the
Universal Photographic Digital Imaging Guidelines (UPDIG) were written.
The site was designed to offer photographers the information required to
ensure that quality reproduction of imagery was universal.
According to Patricia Russotti & Richard Anderson, authors of the book
‘Digital Photography Best Practices and Workflow Handbook: A Guide to
Staying Ahead of the Workflow Curve’ the best practice workflow to employ
the UPDIG guidelines in photography is a process of:
1. PLANNING: The outline or schema for a project whereby the outcomes
and methods are decided upon before starting the process. In a digital
photography workflow, planning is an essential element in the efficiency of
the process and takes into account such issues as ease of use, repeatability,
collaboration, final usages, sustain-ability, longevity, and preservation of the
work.
2. CAPTURE: The process of using devices such as digital cameras or
scanners to capture images in a digital format. The resulting files are then
further processed to arrive at a final image. This could be in the form of a
photographic, moving image, or an audio recording.
3. INGESTION: Ingestion refers to the process of downloading images to
your computer. This includes a number of important steps that can be done
automatically by your software, or that can be done in a batch to an entire
shoot. When done correctly, good Ingestion can save time and add security
to your photos.
4. EDITING: The process of selecting, ranking, and organizing images. This
can include deleting outtakes, applying star ratings, color labels, and
metadata to files, along with sorting according to content. The term edit is
also used to generally describe the process of applying image-processing
steps.
5. OPTIMISATION: In the context of digital photography workflow, the
process/steps of correcting tone and color, sharpening, retouching, and
other output specific adjustments. Optimization can take place at the
individual file level, or it can be done as a batch process for multiple files
and in more than a single pass or round. Files that have been prepared
for specific uses such as proofing, printing, and web would be considered
optimized.
6. PROOF: Proofing is the process of testing image output for the desired
outcome prior to the finished product being produced. This often saves
money on expensive print runs or large scale prints or high quantities. It is
a trial sheet of printed material that is made to be checked and corrected.
Also called proof sheet. It may also be a trial impression of a plate, stone, or
block taken at any of various stages in engraving.
7. OUTPUT/DELIVERY: A broad-based term that refers to an end use/
destination for a digital image. This could be print output using inkjet, press,
laser writer devices, film, or other substrates. It could also be screen based
for use on the web, multimedia and interactive applications, or video.
8. ARCHIVING: A collection of images kept in secure, long-term storage.
Archiving can take place at different stages of the workflow: original
captures prior to processing and optimization, the master files that contain
image optimization, and working files and their derivatives at the completion
of job.
You can read more about UPDIG at the official website. I have also uploaded
their guidelines into the resources. http://www.updig.org/
Another great resource is http://dpbestflow.org/

Proofing
Excerpt from ‘Digital Photography Best Practices and Workflow Handbook: A Guide to Staying
Ahead of the Workflow Curve’.
Patricia Russotti & Richard Anderson.
Proof Types that we are familiar with
Contact Sheets
The term contact sheet is derived from the process of placing a sheet of negatives in direct contact
with a photographic piece of paper and exposing the negatives. This creates one sheet with all the
images the size of the original negatives. This process is used for viewing the images in a group at
a small size so that a decision can be made regarding what images should be printed or used for
the final product. A contact sheet has evolved from the traditional negatives on paper to using small
thumbnail-size digital images and printing out a grouping on one (or more) sheets of paper. Again,
this allows for viewing and selecting images for further use.
Mark-up Proofs
The term mark-up proof can be applied to any and all stages of proofing. Basically, a mark-up-proof
is any proof that has been “marked” to identify areas that need further optimization. This can include
selecting imaging to optimize for a contact sheet; it can also include more specific instructions
such as global or local color adjustment requirements and density adjustments. Or, for example, a
graphic design working or artist proof may be “marked” perhaps to suggest a font change or layout
alteration.
Work Proof or Artist Proof
A work or artist proof is a proof to ensure that the elements and characteristics are inherent in the
image, guide-print, or work print, or example of the finished product, but not the finished product.
Contract Proof
A physical print that serves as a true representation of the anticipated final output. It is a binding
object that, once signed off on by all parties, becomes the reference match point for subsequent
reproductions.
Bon a Tirer (Pulled from)—Final Proof Press Proofs
The press proof is the last proof to be checked before approval for printing. It is signed by the
customer, or on his or her behalf, and releases the printer from responsibility.

File Storage
Image Size
Higher quality images and work will result in larger file sizes that may process
slowly on your computer and be cumbersome to store and share. Be conscious
of what quality level is required and don’t keep files with excessive size. Be aware
of photos/compositions with multiple layers as this increases the file size.
Storage, Backup & Archiving
If you have a large collection of assets and large files you need to make sure
you have ample storage space in the way of an external hard drive, or several of
them. You may require additional storage as backup for all your work and assets.
This is especially necessary if you are responsible for storing client work. You
will need to archive and keep all your usable photography in raw form as well as
optimised work for future use.
Sharing Files
When sharing your images and work it is very important to make sure your IP
is protected. You also don’t want to hand over high resolution files until you
have been paid for your work. Therefore it is always best to supply flattened
low res smaller files to clients for soft proofing. Another alternative is to place a
watermark on your imagery so it cannot be used.
There are several ways to share small and large files online. You can simply
email files or make use of an FTP Site (File Transfer Protocol) like ‘yousendit’ or
‘dropbox’. The great thing about sites/services like this is that they can also act
as extra storage and backup for your work.
Library of Assets
Keep track of your photographic assets by building a library that you can go
back to again and again. This library may consist of all original photography or
include stock imagery you have purchased and have rights to use. Having an
organised usable library will make working on future projects more efficient.
Document your process
Documenting your process is valuable to your learning process but also for
repeating effects when required. There is nothing worse than creating the
most stunning image with your exact desired effect and then either losing it or
forgetting how to create it on the next image in a series of work.
Photoshop has a handy ‘History’ tab that tracks your process however when you
close the file, this history is erased from the tab.
Make a habit of documenting your steps and processes in a notebook or diary
as you work. You will not only retain the skills better in your memory but will have
hard copy notes of your exact process to go back to whenever it is needed.
File names, filing of the job and version tracking
Every designer needs a clear tracking system for their files ensuring
information about the client, job and document version number are precise.
You should be systematic with how you file work for clients and always keep
back up of that work. It is a good idea to include:
For example; JAdams_BusCard_90x55mm_JUL14_v3.indd
• Description and/or Headline
• Specific Rights Usage (possibly
PLUS code or usage description)
• Client Name
• Location
• Keywords
• Star Ratings
• Special Instructions
• Version number
• File Dimensions if applicable
Fig 5.7 File Archiving. Digital Photography Best Practices and Workflow Handbook:
A Guide to Staying Ahead of the Workflow Curve. P. Russotti & R. Anderson.
Fig 7.2 File Naming. Digital Photography Best Practices
and Workflow Handbook: A Guide to Staying Ahead of
the Workflow Curve. P. Russotti & R. Anderson.

Copyright
COPYRIGHT LAW
Copyright is a form of protection provided by the law to the authors of
“original works of authorship.” By virtue of the Berne Convention for the
Protection of Literary and Artistic Works, works are protected in all 160
countries that are party to the Convention, as well as various other laws
such as the US copyright act.
Copyright law defines the legally enforceable rights of a creators
creative and artistic works under Australian law. The scope of copyright
in Australia is defined in the Australian Copyright Act. Designs may be
covered by the Copyright Act (as sculptures or drawings) as well as by
the Design Act.
Copyright is free and automatic upon creation of the work and belongs
to the first creator of an original work.
Under Australian law, when an employee is the creator of original work
and is paid for their time, the first owner of copyright is the employer.
If the creative work is completed by a freelancer or contractor the first
copyright will belong to the creator.
Have a read of the copyright information sheets available in the
resources tab.
Stock Imagery
As a designer you have access to photos you have taken yourself, stock
imagery you can purchase or photography that you have commissioned.
Stock images can be purchased from various stock libraries like
Shutterstock and iStock Photo and are broken down into two main
types, royalty-free and rights-managed.
For royalty-free images, you get nearly unlimited use. You can use the
image in virtually any application, for as long as you like, in as many
different projects as you like, as long as you comply with the terms of
the license agreement. The image is available to use from when you
purchase a license. Following payment of the license fee, no additional
royalty payments are owed.
With rights-managed images, your right to use the image is typically
restricted, with limitations placed on things such as duration of use,
geographic region, industry, etc., as established by your license
agreement.
Q: I’m using an image I found through a Google Image search. If it’s
on the internet, doesn’t that mean it’s free?
A: No. Just because an image is on the internet, it doesn’t mean the
image is free to use. You may still need the correct license to use it.
There is a difference between an image being online and an image
being “in the public domain” (the term given to content that is not
owned or controlled by anyone).

OHS Issues
Working as a photographer and graphic designer is relatively low risk
occupation however there are some aspects of health and safety that
can be considered for best practice.
Ergonomics
Taking care of your body ensures you will be able to retain long term
efficiency in your work environment. You should consider ergonomics
as a fundamental element in your workflow. The goal should be to
establish a working environment that promotes safety and increases
productivity. We can do this by focusing on how we use our bodies.
Posture, movement, and taking the time to set up a functional,
ergonomically correct work environment will ensure repetitive strain
injuries are avoided.
Patricia Russotti & Richard Anderson, authors of the book ‘Digital
Photography Best Practices and Workflow Handbook: A Guide to
Staying Ahead of the Workflow Curve’ ergonomic “must dos” are:
• Use common sense.
• Ensure that the top of your monitor is at eye level and
directly centered in front of you.
• Position the monitor at arm’s length in front of you.
• Check that the level of your desk is approximately at your
belly button.
• Have your elbows fall at a 90-degree angle, slightly below
the desk surface, when you type. Ideally, your arm should
be supported from fingertip to elbow.
• Make sure your chair armrests are level with your keyboard.
• Keep your feet flat on the floor.
Consider the seat length of your chair in relation to your height and
size. If you sit cross legged or with one leg crossed over the other, be
sure that your back is straight and that you have proper support for your
spine. If you have two or more monitors you will need to consider how
your head and neck move.
WORKSPACE CHECKLIST
þ What is the pattern you use for moving your head?
þ Does the current setup force you to angle your head and neck?
þ What is the relationship between your back, spine, neck, and head
movements?
þ Then add your keyboard, mouse, and pressure-sensitive tablet.
þ Pay attention to your movements and how you feel after a long work
session.
þ Adjust elements until you can work without pain, twinges, and
annoyance
þ Some have keyboards that drop down from their desk. These allow for
height adjust ability, depending on the kind of work you are doing.
Fig14.4 Example of utilizing a dropped keyboard and a pressure-sensitive tablet.
Digital Photography Best Practices and Workflow Handbook: A Guide to Staying
Ahead of the Workflow Curve. P. Russotti & R. Anderson.
Fig 14.8 An easy solution is to prop up the laptop with
something as simple as a three-ring binder.
Digital Photography Best Practices and Workflow
Handbook: A Guide to Staying Ahead of the
Workflow Curve. P. Russotti & R. Anderson.

OHS Issues cont.
Office Environment
There are health and safety risks for office spaces that house printing,
copying, and computer equipment. Discomfort or health effects may arise
if machines are poorly sited, inadequately ventilated, poorly maintained
or used by operators continually for long periods.
There have been a number of recent studies on laser printer emissions
showing they emit paper fibers, organic vapors and inorganic gases.
Excessive dry heat can also build up if too many machines are placed in a
small area, or where their use is frequent and ventilation insufficient. This
can cause discomfort to the eyes, and the workplace can become too dry
and hot. Excessive noise may also be experienced in such circumstances,
or where the machines are old or poorly maintained. Clearing paper
jams in printers and other duplicating machinery will expose users to hot
or moving parts, sharp edges, pinch points, or exposed electrical parts.
Modern machines should have such risks designed out and should turn
off automatically upon opening of the machine. However, a machine must
always be disconnected from the power supply before opening. Handling
paper or collating copies are manual handling risks. Office workers may
also experience headache and fatigue, and nasal, eye, throat and skin
symptoms; chronic respiratory symptoms (cough, phlegm production,
chronic bronchitis, wheezing); and respiratory infections (common colds,
tonsil infections, sinus infections, pneumonia) as a result of exposure to
carbon-less copy paper (CCP), paper dust, and fumes from photocopiers
and printers (FPP)
Chemicals
Employers must carry out assessments on all hazardous chemicals
used in the workplace. If a hazard is identified, controls must be put
in place according to the preferred order. That is to eliminate the
hazardous substance, or where this not practicable, substitute it with
a less hazardous substance. If this is not practicable, control methods
such as local exhaust ventilation, and as a last resort personal protective
equipment must be used. Employers must meet the exposure limits set
for any substance used in the workplace.
Ozone: Photocopiers produce small amounts of ozone (an unstable form
of oxygen). This odorous gas is irritating to the eyes, the lungs, the throat
and nasal passages. Severe exposure can result in lung damage.
Selenium and cadmium: The photo-conductive material in photocopiers
is usually selenium. Cadmium sulphide, zinc oxide and organic polymers
are also used. Trace amounts of these materials can become airborne.
However, under normal operation, the concentrations of these pollutants
are well below those associated with health effects.
Toner materials: The main ingredient in the toner is carbon black. This
is mildly toxic - though some impurities in toners may be carcinogenic.
As currently manufactured, carbon blacks contain extremely low levels of
impurities and do not warrant concern regarding health effects.
Liquid toners: Some modern toners are in a liquid form and so rarely
irritate the skin, but exposure to solvents within them can dry and crack
the skin, and mildly irritate the eyes. The same hazards apply to the
various solvents used for cleaning duplicating machines. They also pose
a fire risk if not stored adequately. Frequent contact with toner or other
solvents may cause dermatitis or asthma.
UV Radiation: Ultra-violet radiation may also be released through the
glass plate, but at very low levels. Modern equipment does not present
a bright light hazard beyond short-term discomfort to the eyes, but it is
recommended that the photocopier lid be kept down.
Other EMR: Electro-magnetic fields (EMFs) are produced by electronic
equipment. It is recommended that workers should not stand by the
photocopier when doing long runs (e.g. 15 minutes). If it is necessary
to stand by, then at the distance should be at least 1 metre from the
photocopier.
http://www.ohsrep.org.au/hazards/ohs-reps-@-work-plant-/office-hazards-photocopiers,-printers-etc#action

VDIS10021 Working in Digital Design - Lecture 3 - Creative Practice

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VDIS10021 Working in Digital Design - Lecture 3 - Creative Practice