by clicking the arrows at the side of the page, or by using the toolbar.
by clicking anywhere on the page.
by dragging the page around when zoomed in.
by clicking anywhere on the page when zoomed in.
web sites or send emails by clicking on hyperlinks.
Email this page to a friend
Search this issue
Index - jump to page or section
Archive - view past issues
Panpa Bulletin : May 2010
www.panpa.org.au Muller Martini Australia Pty Limited Sydney +61 (0)2 8756 3100, Melbourne +61 412 749 761, Auckland +64 (0)21 790 600 Fax +61 (0)2 9748 4399, www.mullermartini.com/au, email@example.com Muller Martini has built you the most versatile and reliable insertion system in the business. ProLiner is modular, so it can be easily re- conﬁgured to help you stay on top of changes in the marketplace. ProLiner – from a base model to a high-performance inserting system. And ProLiner is fast. That means your bindery will easily keep pace with the new generation of high-speed, extra wide presses. Grow with a secure investment in inserting productivity – Grow with ProLiner. Grow with ProLiner. MOST newspaper photography de- partments completed their transitions to digital equipment long ago and technology has matured sufficiently that we no longer have to endure great sacrifices in quality for the ad- vantage of immediacy. Many press photographers and publishers are unaware of the advan- tages of shooting in "RAW" -- a file type that approximates a film nega- tive that offers superior quality to the commonly used JPG format. In the early days of digital, there were good arguments for shying away from RAW format. The files were large while the flash media designed to handle them was expensive and performed better with small files. Processing pictures was slow and tedious. There were dozens of pro- prietary RAW file formats but none was well supported by the software. A common view of the time sug- gested newsprint did not demand the utmost in technical quality, so why bother with RAW formats. Today, there is no good reason to sacrifice quality by shooting in JPG. The RAW format offers many positives, including: Improved dynamic range saves under - or over-exposed pictures that would otherwise have been unpublishable. Manual white balance adjustment makes for clear skin tones. • • Files can be tweaked more effec- tively to remove digital noise or sharpen focus; and A variety of other filters will work much better on RAW files than they ever could on JPGs. From a company's perspective, maintaining your archives as RAW files offers the best possible prospects for advertising and commercial resale -- something that can often be ruled out by retaining only small JPG files. It follows that the greater the reproduction quality, the wider the market for on-sale and the greater the revenue possibilities. Further, RAW photographs con- tain masses of metadata. This means access to hundreds of data fields • • which will be of untold value to search engines and other applications in the future. As software decoding algorithms are improved, they can be applied retrospectively to entire archives, and each update can bring notice- able aesthetic improvements across generations of RAW image files by introducing tweaks. Retaining RAW files can also offer a mechanism for journalistic account- ability because they represent the untouched original. The obvious downside is the stor- age burden, but measured in dollars this pales in comparison with the cost of storing negatives in warehouses as we have done for years. Computers are now fast enough to process these files at speeds where the difference is negligible. Press photographers have been some of the greatest contributors to any nation's historical record, and for the most part glass plates or negative film has been their medium. In the decade that we've been shooting digital, the technical quality of that contribution -- and our histori- cal record -- have suffered as future generations will observe. A few changes to our workflows, rather than any significant new ex- pense, is all that's needed to produce better pictures for our publications, while enriching our archives and perhaps making some money while we're at it. Time to see photos in the raw Wade Laube Sydney Morning Herald The PANPA Bulletin | MAY, 2010 | 17 APN pride at stake in print finals Angelo Gedult . . . 'I have received help from my trainers and the guys in the plant' It is time to improve the quality of our digital photography Wade Laube is the Photographic Editor at the Sydney Morning Herald APN Print is hoping to achieve a second apprenticeship success after Angelo Gedult was nominated as a New Zealand Print Ap- prentice of the Year finalist for the Pride In Print awards. South African-born Mr Gedult, 24, of APN Print Ellerslie, will go head-to-head with young printers from the commercial arena. He is attempting to emulate the vic- tory of Richard Hughes, from the Wanganui plant, who took the prestigious accolade in 2008. APN Print NZ's general manager of opera- tions, Dan Blackbourn, said: "To see Angelo achieve this recognition is an endorsement of our internal efforts to enhance the train- ing of our apprentices." Mr Gedult, who moved to New Zealand from Cape Town six years ago, said his new home had given him greater opportunities. He began working on sheet-fed machines but moved on to reel-fed -- a decision that meant he had to restart his apprenticeship. He has no regrets, saying the move gave him a "great opportunity to connect with one of the biggest companies in New Zealand. I have received help from my trainers and the guys in the plant." His mentors have included Phil Ost, the APN Print Ellerslie trainer; Russell Wieck, Press Manager APN Print Ellerslie; Dean Ev- erett, Plant Manager; and supervisors Chris Koria and Dave Lee. Mr Gedult completed his three-year ap- prenticeship in two and half years and now he has been short-listed as a finalist in a com- petitive field. Print Apprentice of the Year will be named at the 2010 Pride In Print awards on June 18 at Sky City, Auckland.