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Discourse Analysis
- 1. Photography and
Discourse Analysis
ENG 3327
Composing: Document Design for Print and Digital Media, 1/e © 2011 Pearson Education, Upper Saddle River, NJ 07458.
Riley & MackiewiczVisual
All rights reserved.
- 2. Agenda
■ Preview VC reading
■ Preview VM reading
Riley & Mackiewicz, Visual Composing: Document Design © 2011 Pearson Education, Upper Saddle River, NJ 07458.
for Print and Digital Media All rights reserved.
- 3. Chapter 9
Selecting and Integrating
Photography
Composing: Document Design for Print and Digital Media, 1/e © 2011 Pearson Education, Upper Saddle River, NJ 07458.
Riley & MackiewiczVisual
All rights reserved.
- 4. After completing Chapter 9, you
should be able to do the following:
■ Understand the ways in which
photography and text can work together
■ Use commonly available resources for
locating stock photography
■ Work with a photographer to plan
custom photography
■ Integrate photography into a
document’s layout
Riley & Mackiewicz, Visual Composing: Document Design © 2011 Pearson Education, Upper Saddle River, NJ 07458.
for Print and Digital Media All rights reserved.
- 5. A cropped photo removes peripheral
elements and focuses on one portion of
the image, which may be enlarged.
uncropped cropped and enlarged
Source: http://en.wikipedia.org/wiki/Image_editing#Cropping_an_image
Riley & Mackiewicz, Visual Composing: Document Design © 2011 Pearson Education, Upper Saddle River, NJ 07458.
for Print and Digital Media All rights reserved.
- 6. A redundant
relationship is one
where image and
text repeat or
paraphrase one
another.
For example, the text
following this image
might describe
different types of
http://commons.wikimedia.org/wiki/File:Diodes.jpg
diodes.
Riley & Mackiewicz, Visual Composing: Document Design © 2011 Pearson Education, Upper Saddle River, NJ 07458.
for Print and Digital Media All rights reserved.
- 7. In a visual-verbal
complementar y
relationship, the
stor y text might
narrate an event,
and the photograph
could convey the
par ticipants’
emotion.
Source:
http://en.wikipedia.org/wiki/File:Crowd_of_Dutch_civilians_celebrating_the_liberation_of_Utrecht_by_the_Canadian_Army_.jpg
Riley & Mackiewicz, Visual Composing: Document Design © 2011 Pearson Education, Upper Saddle River, NJ 07458.
for Print and Digital Media All rights reserved.
- 8. In a supplementar y
relationship, either text
or image is dominant.
This image could add
visual interest to text
about road grading in
military staging areas
and thus supplement the
text.
http://en.wikipedia.org/wiki/File:Militarygrader.jpg
Riley & Mackiewicz, Visual Composing: Document Design © 2011 Pearson Education, Upper Saddle River, NJ 07458.
for Print and & Mackiewicz, Visual Composing; © Pearson Education, Upper Saddle River, NJ 07458. All rights rights reserved.
Riley Digital Media All reserved
- 9. A juxtapositional relationship is
one in which the text and image are at
odds with each other.
The makings of your
healthy breakfast include
phosphoric acid and
potassium benzoate.
Source: http://en.wikipedia.org/wiki/File:Beakers.jpg
Riley & Mackiewicz, Visual Composing: Document Design © 2011 Pearson Education, Upper Saddle River, NJ 07458.
for Print and Digital Media All rights reserved.
- 10. In a stage-setting relationship,
either text or image serves as an
advance organizer for the other.
This image could
forecast text
about sediment
deposition.
Source: http://en.wikipedia.org/wiki/File:Redwall,_Temple_Butte_and_Muav_formations_in_Grand_Canyon.jpg
Riley & Mackiewicz, Visual Composing: Document Design © 2011 Pearson Education, Upper Saddle River, NJ 07458.
for Print and Digital Media All rights reserved.
- 11. Here is an example of a photo release
form. (UHD Form)
In exchange for consideration received, I hereby give permission to
to use my name and photographic likeness in all forms and
media for advertising, trade, and any other lawful purposes.
Print Name:
Signature:
Date:
If Model is under 18:
I, , am the parent/legal guardian of the individual named
above, I have read this release and approve of its terms.
Print Name:
Signature:
Date:
Riley & Mackiewicz, Visual Composing: Document Design © 2011 Pearson Education, Upper Saddle River, NJ 07458.
for Print and Digital Media All rights reserved.
- 12. Follow these guidelines for
captions and tags.
■ Be accurate, especially when you
identify people.
■ Double-check the spelling of names and
make sure that name forms are
consistent between the main text and
the caption.
■ Include directional information if there
is more than one person in the picture—
e.g., “CEO Steve Jobs (left) presents the
Research Award to Shawna Dooner.”
Riley & Mackiewicz, Visual Composing: Document Design © 2011 Pearson Education, Upper Saddle River, NJ 07458.
for Print and Digital Media All rights reserved.
- 13. Chapter 10
Editing Photography
Composing: Document Design for Print and Digital Media, 1/e © 2011 Pearson Education, Upper Saddle River, NJ 07458.
Riley & MackiewiczVisual
All rights reserved.
- 14. After completing Chapter 10, you
should be able to do the following:
■ Understand the differences between film
and digital photography
■ Use appropriate technical vocabulary
■ Understand file formats for digital
photography and their uses
■ Understand principles of color as they relate
to the use of photography
■ Edit photographs to modify file size, image
size, and visual features
Riley & Mackiewicz, Visual Composing: Document Design © 2011 Pearson Education, Upper Saddle River, NJ 07458.
for Print and Digital Media All rights reserved.
- 15. Resolution can be thought of as the
ability of an image to represent what
we actually see with our eyes.
■ Dots per inch (DPI) describes the output
generated by a printer or similar device.
The higher the DPI count of your printer,
the better the document quality.
■ Pixels per inch (PPI) describes the
display on a computer monitor. The
greater the number of pixels displayed
in one inch, the higher the image or
display quality.
Riley & Mackiewicz, Visual Composing: Document Design © 2011 Pearson Education, Upper Saddle River, NJ 07458.
for Print and Digital Media All rights reserved.
- 16. The standard minimum resolution
for professionally produced print
documents is 300 DPI.
This 0.25-inch square
example (enlarged) from an
ink-jet printer contains about
150 DPI. This example comes
from a draft-quality
document.
Source: http://en.wikipedia.org/wiki/File:PrinterDots.jpg
Riley & Mackiewicz, Visual Composing: Document Design © 2011 Pearson Education, Upper Saddle River, NJ 07458.
for Print and Digital Media All rights reserved.
- 17. A standard resolution for Web or
screen-based images is 72 PPI. (150
for treatment purposes. )
314 PPI 72 PPI
Riley & Mackiewicz, Visual Composing: Document Design © 2011 Pearson Education, Upper Saddle River, NJ 07458.
for Print and Digital Media All rights reserved.
- 18. One common task related to working
with digital images is cropping.
Riley & Mackiewicz, Visual Composing: Document Design © 2011 Pearson Education, Upper Saddle River, NJ 07458.
for Print and Digital Media All rights reserved.
- 19. Another common task is resizing
images.
Riley & Mackiewicz, Visual Composing: Document Design © 2011 Pearson Education, Upper Saddle River, NJ 07458.
for Print and Digital Media All rights reserved.
- 20. Another common task is adjusting
color, brightness, and contrast .
Riley & Mackiewicz, Visual Composing: Document Design © 2011 Pearson Education, Upper Saddle River, NJ 07458.
for Print and Digital Media All rights reserved.
- 21. A large image might use 30,000,000 bytes (30MB)
to store the necessary information, while a small
image might use 100,000 bytes (100KB).
resized image = 36.5 KB
original image = 2.33 MB
Riley & Mackiewicz, Visual Composing: Document Design © 2011 Pearson Education, Upper Saddle River, NJ 07458.
for Print and Digital Media All rights reserved.
- 22. When optimizing (compressing) a
digital image for print or Web, you will
have to choose a file format to save the
image.
■ TIFF is the most commonly used file format
for print documents.
■ GIF files use a type of compression with up
to 256 colors. (simple color schemes )
■ PNG is nonproprietary; its use is advocated
by the open-source community.
■ JPEG offers five levels of compression and,
unlike GIF, can render millions of colors.
Riley & Mackiewicz, Visual Composing: Document Design © 2011 Pearson Education, Upper Saddle River, NJ 07458.
for Print and Digital Media All rights reserved.
- 23. Visual Methodologies:
Discourse Analysis
Composing: Document Design for Print and Digital Media, 1/e © 2011 Pearson Education, Upper Saddle River, NJ 07458.
Riley & MackiewiczVisual
All rights reserved.
- 24. Terms
■ Discourse: Messages that structure the way a
thing is thought about and the way we act based
on that thinking.
■ Discursive formation: The way meanings are
connected together in discourse.
■ Regimes to truth: The grounds on which truth
is claimed. The most powerful discourses depend
on the assumption that their messages are true.
■ Power/knowledge: Power produces
knowledge, b/c discourses that “win” the
exchange of ideas must pass themselves off as
true and knowledge.
Riley & Mackiewicz, Visual Composing: Document Design © 2011 Pearson Education, Upper Saddle River, NJ 07458.
for Print and Digital Media All rights reserved.
- 25. Steps
■ Find sources.
■ Look at your sources with fresh eyes.
■ Immerse yourself in your sources.
■ Identify key themes in your sources.
■ Examine their effects of truth.
■ Pay attention to their complexity and
contradictions.
■ Look for the invisible as well as the visible.
paying attention to details.
Riley & Mackiewicz, Visual Composing: Document Design © 2011 Pearson Education, Upper Saddle River, NJ 07458.
for Print and Digital Media All rights reserved.
- 26. Main Simliarity to Semiotics
Semiotics Discourse Analysis
Visual images have social Discourse analysis traces
conditions and social effects the production of social
The transfer of signifieds is difference through discursive
understood as structured claims to truth. It uses the
through codes, and codes in notion of discourse to
turn give on to wider address the rhetorical
structures of meaning. These organization and social
wider structures can be production of visual, written
described as dominant and spoken materials
codes, ideologies,
mythologies or referent
systems.
Riley & Mackiewicz, Visual Composing: Document Design © 2011 Pearson Education, Upper Saddle River, NJ 07458.
for Print and Digital Media All rights reserved.
- 27. Main Differences with Semiotics
Semiotics Discourse Analysis
The image reflects or The image creates social difference
perpetuates social difference through claims to truth.
through relying on commonly used /
understood signs.
The image points to myths, The image produces injustice and
ideologies. works to disenfranchise the
marginalized.
The preferred reading you tell in your The reading you tell in your analysis
analysis is shared by most all. (The is, itself, potentially an ideology or
analysis is not necessarily reflexive.) regime to truth. (The analysis must
be reflexive.)
A few images A more large archive of images (to
discuss other sites where social
difference is manufactured), but not
necessarily as many as content
analysis.
Riley & Mackiewicz, Visual Composing: Document Design © 2011 Pearson Education, Upper Saddle River, NJ 07458.
for Print and Digital Media All rights reserved.
- 28. Considerations When Writing
■ Use detailed textual or visual evidence to support your
analysis.
■ Use textual or visual details to support your analysis.
■ The coherence the study gives to the discourse
examined.
■ The coherence of the analysis itself.
■ The coherence of the study in relation to previous
related research.
■ The examination of cases that run counter to the
discursive norm established by the analysis, in order to
affirm the disruption caused by such deviations.
Riley & Mackiewicz, Visual Composing: Document Design © 2011 Pearson Education, Upper Saddle River, NJ 07458.
for Print and Digital Media All rights reserved.