Board_Advisors_etc 3..5

does not notice the pattern of the screen. A moire ́

occurs in a print when the screen angles collide.

Often times this happens when the designer scans a

reproduction rather than an original photograph.

Guidelines for Scanning Halftone and

Continuous Tone Art

When scanning halftone and continuous tone art,

several things must be kept in mind. Halftone art

should be scanned at 800 SPI or higher. When the

art appears in the scanning software interface, such

as Photoshop, the image should be changed from

grayscale to bitmap, which considerably reduces

the file size and changes the pixels to black and

white. The final step is to save the file as the desired

file type, typically a TIFF. Once these steps are

complete, the scanned file is ready to be imported

into a page layout program.

There is no need to scan a photograph at higher

than 300 DPI, unless its intended enlargement is

greater than its original size. As a rule, scan the

image twice the LPI of its final reproduction. Gen-

erally, the resolution is one-and-a-half times larger

than the LPI. Repeat the saving and layout options

as outlined in halftone scanning guidelines.

TriciaLouvar

Seealso:Digital Photography

Further Reading

Adams II, Richard M.Scanning Primer. Sewickley, PA:

Graphic Arts Technical Foundation, 2002.

Blatner, David, Glenn Fleishman, Steve Rolh, and Conrad

Chavez.Real World Scanning and Halftones: Industrial

Strength Production Techniques. Third Edition. Berke-

ley, CA: Peachpit Press, 2004.

Busch, David D.Mastering Digital Scanning: With Slides,

Film, and Transparencies. Boston, MA: Muska & Lip-

man Publishing, 2003.

Johnson, Harald.Mastering Digital Printing: The Photogra-

pher’s and Artist’s Guide to High-Quality Digital Output.

Boston, MA: Muska & Lipman Publishing, 2002.

Sheppard, Rob.Basic Scanning Guide for Photographers

and Other Creative People. Buffalo, NY: Amherst

Media, 2000.

Wands, Bruce.Digital Creativity: Techniques for Digital

Media and the Internet. Indianapolis, IN: Wiley, 2001.

JU

̈

RGEN SCHADEBERG

South African

Ju ̈rgen Schadeberg was chief photographer, photo

editor, and art director at South Africa’s Drum

magazine during the 1950s, where he also nurtured

the careers of the first generation of black pho-

tographers. Schadeberg immigrated to South Af-

rica in 1950, at the age of 19, hoping to escape the

specters of Nazism and racism in his native Ger-

many. South Africa’s Nationalist government,

which had come to power in 1948 and many of

whose leaders were longtime Nazi supporters, was

then establishing the legislative, institutionalized

racism of its Apartheid policy, which forcibly seg-

regated the races. The Group Areas Act (1950)

forced people to live in racially exclusive areas

and was designed to keep South Africa’s cities

‘‘white.’’ Blacks had to carry IDs, called passes,

that proved they had permits to work in a city

and live in a black township on the outskirts. To

prevent blacks from migrating to the cities, they

were restricted to tribal reserves, called ‘‘home-

lands,’’ and the government emphasized ethnic dif-

ferences to justify this tribalistic view of the black

population, which was implicitly regarded as

racially inferior. Failure to carry a pass was pun-

ished with jail. Sexual relations across the color bar

were also illegal. Ironically for Schadeberg, Apart-

heid became an international symbol for racism in

the second half of the twentieth century in much

the same way as Nazi Germany symbolizes racism

in the first half.

In 1951, Schadeberg accepted a job atThe Afri-

can Drum, a white-owned magazine that was

geared toward black readers but focused on Afri-

can traditionalism rather than urbanity. Within a

year, the magazine was taken over, renamed

Drum, and reoriented toward urban issues and

readers. Drum first consisted of its owner, Jim

Bailey, Schadeberg as photographer, Henry Nxu-

SCANNING