Light symbolises the highest good, it enables all visual art, and today it lies at the heart of billion-dollar industries. The control of light forms the foundation of contemporary vision. Digital Light brings together artists, curators, technologists and media archaeologists to study the historical evolution of digital light-based technologies. Digital Light provides a critical account of the capacities and limitations of contemporary digital light-based technologies and techniques by tracing their genealogies and comparing them with their predecessor media. As digital light remediates multiple historical forms (photography, print, film, video, projection, paint), the collection draws from all of these histories, connecting them to the digital present and placing them in dialogue with one another. Light is at once universal and deeply historical. The invention of mechanical media (including photography and cinematography) allied with changing print technologies (half-tone, lithography) helped structure the emerging electronic media of television and video, which in turn shaped the bitmap processing and raster display of digital visual media. Digital light is, as Stephen Jones points out in his contribution, an oxymoron: light is photons, particulate and discrete, and therefore always digital. But photons are also waveforms, subject to manipulation in myriad ways. From Fourier transforms to chip design, colour management to the translation of vector graphics into arithmetic displays, light is constantly disciplined to human purposes. In the form of fibre optics, light is now the infrastructure of all our media; in urban plazas and handheld devices, screens have become ubiquitous, and also standardised. This collection addresses how this occurred, what it means, and how artists, curators and engineers confront and challenge the constraints of increasingly normalised digital visual media. While various art pieces and other content are considered throughout the collection, the focus is specifically on what such pieces suggest about the intersection of technique and technology. Including accounts by prominent artists and professionals, the collection emphasises the centrality of use and experimentation in the shaping of technological platforms. Indeed, a recurring theme is how techniques of previous media become technologies, inscribed in both digital software and hardware. Contributions include considerations of image-oriented software and file formats; screen technologies; projection and urban screen surfaces; histories of computer graphics, 2D and 3D image editing software, photography and cinematic art; and transformations of light-based art resulting from the distributed architectures of the internet and the logic of the database. Digital Light brings together high profile figures in diverse but increasingly convergent fields, from academy award-winner and co-founder of Pixar, Alvy Ray Smith to feminist philosopher Cathryn Vasseleu.

A comprehensive guide to lighting techniques in digital photography covering topics including working with artificial light and daylight.

The way that special effects are designed and then created in films is explained in this lavishly illustrated book that traces the development of the ILM company of George Lucas.

Who better to teach students the fine art and craft of digital lighting and rendering than the individual who created many of the stunning lighting effects for Pixar's blockbuster films such as Brave, Toy Story 3, Wall-e, Cars, and The Incredibles? In these pages, lighting and animation pro Jeremy Birn draws on his wealth of industry and teaching experience to provide an thoroughly updated edition of what has become the standard guide to digital lighting and rendering. Using beautiful, full-colour examples; a friendly, clear teaching style; and a slew of case studies and tutorials, Jeremy demonstrates how to create strategic lighting for just about any project. By explaining not just how to use various lighting techniques but why, this guide provides the grounding graphics pros need to master Hollywood lighting techniques. Realising that lighting - how it's used, where it's placed, and the kind of shadow it casts - is critical to any image, Jeremy dedicates the first half of his volume to just that topic. Additional chapters cover colour, exposure, composition, materials and textures, and compositing.

“Venter instills awe for biology as it is, and as it might become in our hands.” —Publishers Weekly On May 20, 2010, headlines around the world announced one of the most extraordinary accomplishments in modern science: the creation of the world’s first synthetic lifeform. In Life at the Speed of Light, scientist J. Craig Venter, best known for sequencing the human genome, shares the dramatic account of how he led a team of researchers in this pioneering effort in synthetic genomics—and how that work will have a profound impact on our existence in the years to come. This is a fascinating and authoritative study that provides readers an opportunity to ponder afresh the age-old question “What is life?” at the dawn of a new era of biological engineering.

Hirsch presents an introductory book that clearly and concisely provides the instruction and building blocks necessary to create thought-provoking digitally based photographs. It is an idea book that features numerous classroom-tested assignments and exercises from leading photographic educators.

These digital bookmarks are a portable and fun way to monitor and record daily reading. It has a programmable countdown timer with an alarm and a cumulative timer for multi-session reading.

This comprehensive guide teaches all the digital skills the amateur or student photographer will need when photographing on location, written in a practical no nonsense and entertaining style

The pixel as the organizing principle of all pictures, from cave paintings to Toy Story. The Great Digital Convergence of all media types into one universal digital medium occurred, with little fanfare, at the recent turn of the millennium. The bit became the universal medium, and the pixel--a particular packaging of bits--conquered the world. Henceforward, nearly every picture in the world would be composed of pixels--cell phone pictures, app interfaces, Mars Rover transmissions, book illustrations, videogames. In A Biography of the Pixel, Pixar cofounder Alvy Ray Smith argues that the pixel is the organizing principle of most modern media, and he presents a few simple but profound ideas that unify the dazzling varieties of digital image making. Smith's story of the pixel's development begins with Fourier waves, proceeds through Turing machines, and ends with the first digital movies from Pixar, DreamWorks, and Blue Sky. Today, almost all the pictures we encounter are digital--mediated by the pixel and irretrievably separated from their media; museums and kindergartens are two of the last outposts of the analog. Smith explains, engagingly and accessibly, how pictures composed of invisible stuff become visible--that is, how digital pixels convert to analog display elements. Taking the special case of digital movies to represent all of Digital Light (his term for pictures constructed of pixels), and drawing on his decades of work in the field, Smith approaches his subject from multiple angles--art, technology, entertainment, business, and history. A Biography of the Pixel is essential reading for anyone who has watched a video on a cell phone, played a videogame, or seen a movie. 400 pages of annotations, prepared by the author and available online, provide an invaluable resource for readers.

Join the digital revolution With the availability and affordability of digital movie-making equipment, it’s now easier than ever for aspiring filmmakers to create the great movie they’ve always wanted to make. From information on creating mini-films on a PDA to making low-budget, full-length digital movies, The Complete Idiot’s Guide® to Digital Video provides all the information you need to turn your idea into reality. • A must-read for every film student or novice • Covers all aspects of production, from casting and directing to light and sound to digital editing • Includes 8–page, 4–color insert • Up–to–date recommendations on equipment and software • Clear, easy-to-follow instructions and guidance, as well as all the practical, artistic, and technical “step–by–step” advice that only an experienced writer/director can offer