Vpliv postprodukcije na čustveno zaznavo pri portretni fotografiji

Kolar, Nino (author), Ahtik, Jure (mentor)

Namen diplomskega dela je bil ugotoviti in analizirati zaznavo čustev v portretni fotografiji. V obzir smo vzeli vse morebitne spremenljivke, ki bi na testirance lahko vplivale, in se jih poskušali znebiti. Z upoštevanjem vseh spremenljivk smo uspeli priti do natančnih rezultatov, ki so prispevali k relevantnosti diplomskega dela. V teoretičnem delu smo sprva naredili kratek pregled zgodovine portretne fotografije, nakar smo se nekoliko poglobili v začetke in razvoj postprodukcije. Veliko večji poudarek smo namenili čustvom in prikazovanju le-teh s pomočjo obrazne mimike. Preučili smo teorije, ki dokazujejo univerzalnost sedmih izraznih mimik, na katere smo se tudi osredotočili v eksperimentalnem delu. Pregledali smo tudi teorije barv, kontrasta in drugih parametrov, ki smo jih prav tako upoštevali v postprodukciji. Vse fotografije so bile zajete v fotografskem studiu. Uporabili smo štiri modele, dve ženski in dva moška. Svetloba v fotografskem studiu je bila konstantna, saj smo se na tak način znebili neželenih spremenljivk. Vsak izmed modelov je prikazal sedem čustev (veselje, jezo, žalost, gnus, presenečenje, strah, prezir). Vsi modeli so bili na enaki poziciji in pod enako svetlobo. Tako smo zagotovili enake neobdelane fotografije. Kasneje smo v programskem orodju Adobe Lightroom Classic CC vse fotografije obdelali. Spremembe smo izvajali pri štirih lastnostih, ki so: osvetljenost, kontrast, ravnovesje beline in nasičenost. Pri vsaki izmed teh lastnosti sta bili dve različici obdelave, ena s povišano vrednostjo obdelave in ena z reducirano vrednostjo. Vsaka fotografija je imela osem obdelav. V naboru smo tako imeli skupno 252 fotografij. Ustvarili smo ankete, s katerimi smo preverili zaznavo čustev. Vsako izmed anket je rešilo 15 različnih ljudi, skupno torej 135. Rezultate smo nato s pomočjo Excela primerno obdelali in jih razvrstili v preglednice. Nato smo izvedli še test, pri katerem testiranci niso ugotavljali čustev, ampak so med pari fotografij morali izbrati, kateri tip obdelave se jim zdi bolj smiseln za določeno čustvo. Na podlagi vseh podatkov smo izvedli analizo in prišli do končnih ugotovitev.

• Language: Slovenian
• Keywords: čustva, obrazna mimika, portretna fotografija, postprodukcija, studijska fotografija
• Work type: Bachelor thesis/paper
• Organization: NTF - Faculty of Natural Sciences and Engineering
• Year: 2020
• PID: 20.500.12556/RUL-119118
• Publication date in RUL: 03.09.2020

Secondary language

• Language: English
• Title: The impact of post-production on emotional perception in portrait photography

Abstract

The purpose of the diploma thesis was to state and analyse the perception of emotions in portrait photography. We had to take into account all the possible variables that could affect our test subjects and get rid of them. By considering all of the variables, we were able to get accurate results that contributed to the relevance of the thesis. In the theoretical part of our diploma thesis, we first made a brief overview of the history of portrait photography after which we delved a little deeper into the beginnings and development of post-production. We had much greater emphasis on emotions and showing them with the help of facial expressions. We examined theories proving the universality of seven facial expressions, on which we later on focused in the experimental part of our thesis. We also reviewed the theory of colour, contrast and other parameters, which we considered in our post-production. All photos were taken in a photo studio. We used four models, two female and two male. The light in the photo studio was constant, as we wanted to get rid of the unwanted variables. Each of the models expressed seven emotions (joy, anger, sadness, disgust, surprise, fear, contempt). All models were positioned the same and they were also illuminated the same way. This is how we provided the same raw photos. Later, we edited all of the photos in Adobe Lightroom Classic CC. The changes were performed on four main properties of the photo: brightness, contrast, white balance and saturation. For each of the properties we did two edits, one with increased value and one with decreased value. Each photo had eight edits, so we had a total of 252 photos in the set. We created surveys to check the perception of emotions. Each of the surveys was solved by 15 different people, total of 135. The results were later on processed appropriately with the help of Excel and sorted into tables. We performed another test, where test subjects didn’t need to identify emotions. Among the pairs of photos, they had to choose which type of edit they found to be more meaningful for a particular emotion. Based on all the data, we then performed an analysis and came to final conclusions.

• Keywords: emotions, facial expressions, portrait photography, post-production, studio photography