{"id":969,"date":"2017-06-09T21:52:25","date_gmt":"2017-06-10T01:52:25","guid":{"rendered":"https:\/\/pressbooks.bccampus.ca\/designandproductionforpr\/part\/chapter-8-tonal-scale\/"},"modified":"2020-09-02T15:23:53","modified_gmt":"2020-09-02T19:23:53","slug":"chapter-8-tonal-scale","status":"publish","type":"part","link":"https:\/\/pressbooks.bccampus.ca\/designandproductionforpr\/part\/chapter-8-tonal-scale\/","title":{"raw":"ACC Chapter 8: Tonal Scale","rendered":"ACC Chapter 8: Tonal Scale"},"content":{"raw":"
\r\n

Download Materials for Chapter 8<\/h2>\r\nClick here to download chapter 8 work files<\/a>\r\n\r\nYou will need the chapter 8 work files to complete this chapter\u2019s exercises.\r\n\r\n<\/div>\r\nWhen evaluating photographic images, in color or grayscale, the range of tones should be taken into consideration. The tonal scale in an image encompasses the changes in value from black to white. Unless the aim of the image-maker is to produce a low key (dramatically dark) or high key (exceptionally light) image, the file and resulting print should include image details in the shadow and highlight areas.\r\n\r\nCommon problems that are addressed by adjusting the tonal scale are as follows:\r\n
    \r\n \t
  1. The image is too hot<\/em> when the white areas are \u201cblown out\u201d, meaning there are no image details in the highlights.<\/li>\r\n \t
  2. The image is murky<\/em> when there is not enough contrast between the darkest black value and the lightest white value.<\/li>\r\n \t
  3. The image displays a colorcast<\/em> when there is evidence of a hue in areas that should be neutral gray or white.<\/li>\r\n \t
  4. The middle gray<\/em> area of the image is too dark or too light, which usually corresponds (especially) to skin tones being too dark or light.<\/li>\r\n<\/ol>\r\nIn this first recorded photograph, shown below, the exposure time was 8 hours! Notice the limited tonal scale due to such high contrast among the dark and light values.\r\n\r\n[caption id=\"attachment_967\" align=\"alignnone\" width=\"400\"]\"View View from the Window at Le Gras, Nic\u00e9phore Ni\u00e9pce<\/cite>, 1826, Saint-Loup-de-Varennes, France. Captured on 20 \u00d7 25 cm oil-treated bitumen.[\/caption]\r\n\r\nThis next photograph was commissioned by the Farm Security Administration (FSA). Florence Owens Thompson looks towards the future with worry, as her children bury their heads into her shoulders. The FSA was part of The New Deal, a set of programs initiated by Franklin Delano Roosevelt to stimulate and revitalize weak economies from 1933 \u2013 1938. The FSA hired photographers, such as Lange, Walker Evans and Marion Post Wolcott to document America after the Great Depression. Notice how the range of tonal values expresses the details in Florence\u2019s face and the blanket on her lap.\r\n\r\n[caption id=\"attachment_967\" align=\"alignnone\" width=\"400\"]\"Migrant Migrant Mother<\/cite>, Dorothea Lange, 1936. Silver gelatin print.[\/caption]","rendered":"
    \n

    Download Materials for Chapter 8<\/h2>\n

    Click here to download chapter 8 work files<\/a><\/p>\n

    You will need the chapter 8 work files to complete this chapter\u2019s exercises.<\/p>\n<\/div>\n

    When evaluating photographic images, in color or grayscale, the range of tones should be taken into consideration. The tonal scale in an image encompasses the changes in value from black to white. Unless the aim of the image-maker is to produce a low key (dramatically dark) or high key (exceptionally light) image, the file and resulting print should include image details in the shadow and highlight areas.<\/p>\n

    Common problems that are addressed by adjusting the tonal scale are as follows:<\/p>\n

      \n
    1. The image is too hot<\/em> when the white areas are \u201cblown out\u201d, meaning there are no image details in the highlights.<\/li>\n
    2. The image is murky<\/em> when there is not enough contrast between the darkest black value and the lightest white value.<\/li>\n
    3. The image displays a colorcast<\/em> when there is evidence of a hue in areas that should be neutral gray or white.<\/li>\n
    4. The middle gray<\/em> area of the image is too dark or too light, which usually corresponds (especially) to skin tones being too dark or light.<\/li>\n<\/ol>\n

      In this first recorded photograph, shown below, the exposure time was 8 hours! Notice the limited tonal scale due to such high contrast among the dark and light values.<\/p>\n

      \"View
      View from the Window at Le Gras, Nic\u00e9phore Ni\u00e9pce<\/cite>, 1826, Saint-Loup-de-Varennes, France. Captured on 20 \u00d7 25 cm oil-treated bitumen.<\/figcaption><\/figure>\n

      This next photograph was commissioned by the Farm Security Administration (FSA). Florence Owens Thompson looks towards the future with worry, as her children bury their heads into her shoulders. The FSA was part of The New Deal, a set of programs initiated by Franklin Delano Roosevelt to stimulate and revitalize weak economies from 1933 \u2013 1938. The FSA hired photographers, such as Lange, Walker Evans and Marion Post Wolcott to document America after the Great Depression. Notice how the range of tonal values expresses the details in Florence\u2019s face and the blanket on her lap.<\/p>\n

      \"Migrant
      Migrant Mother<\/cite>, Dorothea Lange, 1936. Silver gelatin print.<\/figcaption><\/figure>\n","protected":false},"parent":0,"menu_order":12,"template":"","meta":{"pb_part_invisible":false,"pb_part_invisible_string":""},"contributor":[],"license":[],"class_list":["post-969","part","type-part","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/pressbooks.bccampus.ca\/designandproductionforpr\/wp-json\/pressbooks\/v2\/parts\/969","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/pressbooks.bccampus.ca\/designandproductionforpr\/wp-json\/pressbooks\/v2\/parts"}],"about":[{"href":"https:\/\/pressbooks.bccampus.ca\/designandproductionforpr\/wp-json\/wp\/v2\/types\/part"}],"version-history":[{"count":3,"href":"https:\/\/pressbooks.bccampus.ca\/designandproductionforpr\/wp-json\/pressbooks\/v2\/parts\/969\/revisions"}],"predecessor-version":[{"id":1390,"href":"https:\/\/pressbooks.bccampus.ca\/designandproductionforpr\/wp-json\/pressbooks\/v2\/parts\/969\/revisions\/1390"}],"wp:attachment":[{"href":"https:\/\/pressbooks.bccampus.ca\/designandproductionforpr\/wp-json\/wp\/v2\/media?parent=969"}],"wp:term":[{"taxonomy":"contributor","embeddable":true,"href":"https:\/\/pressbooks.bccampus.ca\/designandproductionforpr\/wp-json\/wp\/v2\/contributor?post=969"},{"taxonomy":"license","embeddable":true,"href":"https:\/\/pressbooks.bccampus.ca\/designandproductionforpr\/wp-json\/wp\/v2\/license?post=969"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}