DOCSLIB.ORG

Cameras in the Curriculum. a Challenge to Teacher Creativity. Volume 1, 1982/83. an NEA/KODAK Program

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

DOCUMENT RESUME ED 238 409 IR 010 931 AUTHOR Ford, Faye, Ed. TITLE Cameras in the Curriculum. A Challengeto Teacher Creativity. Volume 1, 1982/83. An NEA/KODAK Program. INSTITUTION Eastman Kodak Co,, Rochester, N.Y.; National Education Association, Washington,D.C. SPONS AGENCY National Foundation for theImprovement of Education, Washington, D.C. PUB DATE 83 NOTE 146p. PUB TYPE Reports Descriptive (141) Guides Classroom Use Guides (For Teachers) (052) EDRS PRICE MF01 Plus Postage. PC Not Availablefrom EDRS. DESCRIPTORS Awards; Case Studies; Elementary SecondaryEducation; Instructional Innovation; *Material Development; *Photography; Production Techniques;Program Descriptions; Program Development; *Program Tmplementation; *Teacher Developed Materials; *Teaching Methods; *Visual Aids ABSTRACT This book describes 119 award-winningprojects from a program which established a national teachers' competitionto select and disseminate superior teacher-planned anddeveloped programs which use photography as an integral part of the K-12 school curriculum. All subject areas, grade levels, andstates are represented in summaries of projects thatwere granted $200 implementation awards after being selected by a National EducationAssociation (NEA) review panel from entries submitted by eachstate NEA affiliate. Chosen from final reports of these programs submittedto the NEA, reports of six grand prize winners are first presented in theirentirety. These reports and summaries of the other projects includeproject title; teacher; locale; subject; grades;a purpose and description of project; activities; materials,resources, and expenses; and outcomes and adaptation. Grand prize winners includeprograms in fourth grade language arts, secondary science, kindergartenreading readiness, and intermediate art, social studies, and geology.(LMM) *********************************************************************** * Reproductions supplied by EDRSare the best that can be made * * from the original document. * *********************************************************************** U.S. DEPARTMENT OF EDUCATION NATIONAL INSTITUTE OF EDUCATION EDUCATIONAL RESOURCES INFORMATION CENTER (ERIC) As This document has been reproduced as rereived from the person Or organization Originating it Minor changes have been made to improv, reproduction quality Points of view or opinions stated in this docu ment do not necessarily represent official NIE el. position or policy T E CU An NEA/KODAK Program A Challenge to Teacher Creativity Volume 1 1982/83 "PERMISSION TO REPRODUCE THIS MATERIAL IN MICROFICHE ONLY HAS BEEN GRANTED BY J.H. Kleinmann TO THE EDUCATIONAL RESOURCES Administered by INFORMATION CENTER (ERIC)." THE NATIONAL FOUNDATION FOR THE IMPROVEMENT OF EDUCATION Eastman Kodak Company Youth Serlices National Education Association Mary Hatwood Futrell, President Don Cameron, Executive Director National Foundation for the Improvement of Education Jack H. Kleinmann. Executive Director Sam McMillan, Associate Director Cameras in the Curriculum Sonja J. Nixon. Project Director Pamela M. Terrell. Adrrnistrative Assistant c Eastman Kodak Compaily. 1983 Any reproduction of a portion of this material should carry the lineReprinted from the NEA/KODAK 1982-83 Curriculum Volume by permission of Kodak 3 Table of Contents National Review Panel Members 2 2 State Coordinators . Foreword 3 Acknowledgements . 4 Introduction . 5.6 Grand Prize Winners 8-31 National Award Winners 32-144 Career Education 32-34 Fine Arts 35-44 Languages. Language Arts . 49-83 Physical Education . 84-85 Science and Mathematics 86-109 Social Studies . 110-123 Special Education . 124-139 Other. 140-144 4 The- National Review Panel 1982-1983 Teachers Cameras in the Curriculum Robert S Bannister ---Golden Ring Middle Schoo, State Coordinators Baltimore. Maryland Alabama Education Association Sallie Cook Joseph B Burnette---Washington Irving Intermediate NEA-Alaska--Robert Cooksey School. Springfield. Virginia Arizona Education AssociationTom Carey Karen Darner Taylor Elementary School. Arlington, A-kansas Education Association--Ermalee Boic Virginia California Teachers' AssociationBill Hayward Louise Fishbein-Claremont Elementary School. Colorado Education Association-- Deborah Fallen Arlington. Virginia Connecticut Education Association Maggie McAlpine Fred Goos---Loch Raven Senior High School. Towsor Delaware State Education Association Wally Young Maryland Florida Teaching Profession-NEATommye Hutto Kathy Lore --Hereford Junior Senior High School, Geoigia Association of Educators--Cody Lee, Jr Baltimore. Maryland Hawaii State Teachers' AssociationJohn Radcliffe Dorothy MarshallRosedale Elementary School. Idaho Education AssociationRobert Beckwith Baltimore County. Maryland Illinois Education AssociationJ J Smith Patricia MartinSparrow's Point High School. Indiana State Teachers' AssociationRobert Montfort Baltimore. Maryland Iowa State Education AssociationLana Oppenheim Janet MillsSeneca Valley High School. Baltimore Kansas-NEAMarilyn Flannigan Maryland Maine Teachers' AssociationRosemarie Studer Larry Pennington--Jackson School. Arlington. Virginia Maryland State Teachers' Association. Inc. Ralph Peters. Jr --Perry Hall High School. Baltimore. Jim Spencer Maryland Massachusetts Teachers AssociationRuss Burbank. Kathryn PorterTwinbrook Elementary School, Fred Andelman Rockville. Maryland Michigan Education AssociationKaty Keatts Minnesota Education AssociationPeter Paholts Organizational Representatives Mississippi Association of Educators Mary E Gates American Association of School Administrators, Missouri-NEACarol Schmoock Earl Ferguson. Jerry Killingsworth Montana Education AssociationNancy Walter Association for Supervision and Curriculum Nebraska State Education AssociationBonnie Moody Development. Nancy Olson Nevada State Education Association National Art Education Ar_;sociEttion. James Anderson. Barbara Ferguson John Lechner. Caroline Marshall NEA-New HampshireWilliam Shanahan National Association of Elementary School Principals, New Jersey Education Association Norm Goldman Marge Thompson NEA-New MexicoDean Lively National Council of Social Studies. Ronald Wheeler New York Educators' AssociationAl Mance National Council of Teachers of English. Ohio Education AssociationBill Martin David England. Patricia Hancock. Margot Racin. Oklahoma Education AssociationCharles McCauley John Racin Overseas Education AssociationBill Breskin National Council of Teachers of Mathematics. Edward Pennsylvania State Education Association Anderson Fred Leushner. Harry Shreiner National Geographic Society. Carl Harmon NEA-Rhode Island--Karen Comisky National Science Teachers' Association. Richard Gates South Carolina Education Association Paul DeArmond South Dakota Education AssociationDianna Miller Tennessee Education AssociationJeff Swink Texas State Teachers' AssociationAnnette Cootes Vermont-NEALaurie Huse Virginia Education AssociationHelen Rolfe West Virginia Education AssociationWilliam Johnson Wisconsin Education AssociationEd Golnick Wyoming Education AssociationNorma Christensen 2 Forward In August 1982 the National Education Association and This program enabled teachers to tell their stories Eastman Kodak Company announced a joint through program designs of their own. and provided NEA Kodak program which sought to promote more them with opportunities to show the general public effective classroom instruction by the use of what they can do We are glad that publication of their photography as an integral aspect of classroom programs will give them the chance to share their curricula at all grade levels. K-12 This program successes with colleagues nationwide provides an excellent example of the kind of Support for this program will continue We hope to cooperation that should exist between public education make it possible to involve many more teachers in and the corporate world developing their own curriculum ideas--and to share A year has passed and the program has been them universally. We are proud of our partnership and carried out On the basis of the evidence thus far, we enthusiastically support the kind of cooperation have every reason to believe that it has been a between business and education that makes possible resounding success Let the teachers speak for new approaches to the improvement of education and themselves the enhancement of learning experiences for students Without a doubt. this has been the best approach Relationships such as that between Kodak and NEA hold considerable potent:al for strengthening I have ever used in my 24 years of experience teaching industrial arts. educational systems all across the nation The improvement in school/community relations was demonstr-d by the fact that neighbors and friends, not jus 's. made a point to visit the school in order to the weekly showcases The beauty of the program is its adaptability to the environment of the child.- "Thi:. program has been the most successful. exciting. and rewarding teaching experience we have had with trainable mentally-retarded students on performance skills tests, the scores of most students. including the nonverbal, increased Various sociometric instruments also showed substantial movement by the children away from an isolated cast-off position toward a more positive place in the class hierarchy." "Many students volunteered their free hoars. the silent spoke up, and the students prone to cutting class stayed on the scene. -Photography was the key that enabled us to unlock the interest of our students in integratior,
Recommended publications
  • Imaging Diamond with X-Rays

    Imaging Diamond with X-Rays

    Home Search Collections Journals About Contact us My IOPscience Imaging diamond with x-rays This article has been downloaded from IOPscience. Please scroll down to see the full text article. 2009 J. Phys.: Condens. Matter 21 364217 (http://iopscience.iop.org/0953-8984/21/36/364217) View the table of contents for this issue, or go to the journal homepage for more Download details: IP Address: 129.49.56.80 The article was downloaded on 30/06/2010 at 16:59 Please note that terms and conditions apply. IOP PUBLISHING JOURNAL OF PHYSICS: CONDENSED MATTER J. Phys.: Condens. Matter 21 (2009) 364217 (15pp) doi:10.1088/0953-8984/21/36/364217 Imaging diamond with x-rays Moreton Moore Department of Physics, Royal Holloway University of London, Egham, Surrey TW20 0EX, UK E-mail: [email protected] Received 5 April 2009 Published 19 August 2009 Online at stacks.iop.org/JPhysCM/21/364217 Abstract The various techniques for imaging diamonds with x-rays are discussed: x-radiography, x-ray phase-contrast imaging, x-ray topography, x-ray reciprocal-space mapping, x-ray microscopy; together with the characterization of the crystal defects which these techniques reveal. 1. Introduction may also be sharp characteristic peaks superimposed upon the continuous spectrum, characteristic of the target material. X-rays may be used to image whole diamonds, or selected These come from the brief promotion of electrons dislodged regions, by radiography or by using various techniques from target atoms to discrete higher energies. These (or other) employing a Bragg reflection for x-ray diffraction contrast.
  • Reciprocity and Special Filter Data for KODAK Films

    Reciprocity and Special Filter Data for KODAK Films

    TECHNICAL DATA / FILM July 2002 • E-31 Reciprocity and Special Filter Data for KODAK Films The reciprocity law states that the intensity of light falling on LONG-EXPOSURE EFFECTS a photographic film multiplied by the exposure time equals Under low-light conditions, you may have to extend your the total amount of exposure. exposure times to a point of significant speed loss. With black-and-white films, the effect of this speed loss is partially offset by wide exposure latitude. Most color films Intensity x Time = Exposure require more than the normally calculated exposure when the This means, for example, that an exposure of f/16 at 1/60 lighting is unusually low. Also, the sensitivity differences second is equivalent to an exposure of f/11 at 1/125 second. between the many layers of color films can cause a In either combination of settings, the same amount of light color-balance shift, which means that you will sometimes reaches the film. need to use color-compensating filters to achieve an The reciprocity law applies to most black-and-white and acceptable color balance. 1 When you must increase the indicated exposure to color films at exposure times from approximately ⁄5 second to 1/1,000 second. (See the tables in this publication for compensate for long-exposure effects (see the data in the individual product characteristics.) tables), use a larger lens opening if possible. Extending the However, all photographic emulsions are subject to an exposure time will result in more speed loss, contrast effect often called “reciprocity-law failure.” At exposure change, and color shift.
  • Image Forming Method and System Bilderzeugungsverfahren Und System Procédé De Formation D’Image Et Système

    Image Forming Method and System Bilderzeugungsverfahren Und System Procédé De Formation D’Image Et Système

    Europäisches Patentamt *EP000800114B1* (19) European Patent Office Office européen des brevets (11) EP 0 800 114 B1 (12) EUROPEAN PATENT SPECIFICATION (45) Date of publication and mention (51) Int Cl.7: B41J 2/01, B41J 2/325, of the grant of the patent: G03C 8/40, G03C 5/04, 05.11.2003 Bulletin 2003/45 G03D 13/00, G03G 15/01, (21) Application number: 97103995.3 G03G 15/10, G03G 15/16, H04N 1/00, H04N 1/21, (22) Date of filing: 10.03.1997 H04N 1/29 (54) Image forming method and system Bilderzeugungsverfahren und System Procédé de formation d’image et système (84) Designated Contracting States: (56) References cited: BE DE FR GB IT NL EP-A- 0 210 660 EP-A- 0 385 496 EP-A- 0 492 579 EP-A- 0 513 547 (30) Priority: 11.03.1996 JP 5335796 EP-A- 0 557 858 EP-A- 0 558 284 14.01.1997 JP 489997 EP-A- 0 609 966 EP-A- 0 626 611 EP-A- 0 650 850 EP-A- 0 671 276 (43) Date of publication of application: WO-A-94/26521 FR-A- 2 193 216 08.10.1997 Bulletin 1997/41 GB-A- 2 056 103 GB-A- 2 299 787 US-A- 3 576 632 US-A- 3 821 762 (73) Proprietor: Fuji Photo Film Co., Ltd. US-A- 4 908 520 US-A- 5 049 908 Kanagawa-ken (JP) US-A- 5 109 252 US-A- 5 160 946 US-A- 5 215 852 US-A- 5 305 016 (72) Inventors: US-A- 5 451 561 US-A- 5 461 440 • Ishikawa, Shun-ichi US-A- 5 466 560 US-A- 5 486 891 Minamiashigara-shi, Kanagawa-ken (JP) US-A- 5 512 533 • Kubodera, Seiiti Minamiashigara-shi, Kanagawa-ken (JP) • PATENT ABSTRACTS OF JAPAN vol.
  • History of KODAK Cameras

    History of KODAK Cameras

    CUSTOMER SERVICE PAMPHLET March 1999 • AA-13 History of KODAK Cameras KODAK CAMERAS ON THE MARKET ORIGINAL CAMERA NAME FROM TO FILM SIZE LIST PRICE No. 1A AUTOGRAPHIC KODAK 1917 Model Camera 1917 1924 116 $21.00 No. 3 AUTOGRAPHIC KODAK Camera 1914 1926 118 41.50 No. 3A AUTOGRAPHIC KODAK Camera 1914 1934 122 50.50 No. 1 AUTOGRAPHIC KODAK Junior Camera 1914 1927 120 23.00 No. 1A AUTOGRAPHIC KODAK Junior Camera 1914 1927 116 24.00 No. 2C AUTOGRAPHIC KODAK Junior Camera 1916 1927 130 27.00 No. 3A AUTOGRAPHIC KODAK Junior Camera 1918 1927 122 29.00 No. 1 AUTOGRAPHIC KODAK Special Camera 1915 1920 120 56.00 (Bakelite side panels) No. 1 AUTOGRAPHIC KODAK Special Camera (Model B) (Back overlaps sides) Focus by thumb-turned gear. 1921 1921 120 79.00 (Only produced for a few months) No. 1 AUTOGRAPHIC KODAK Special Camera (Model B) 1922 1926 120 74.00 (knurled screw focusing) No. 1A AUTOGRAPHIC KODAK Special Camera 1914 1916 116 59.50 No. 1A AUTOGRAPHIC KODAK Special Camera 1917 1923 116 91.00 (w/coupled rangefinder and Bakelite side panels) No. 1A AUTOGRAPHIC KODAK Special Camera 1923 1926 116 60.00 w/coupled rangefinder, Model B (Back overlaps sides) No. 2C AUTOGRAPHIC KODAK Special Camera 1923 1928 130 65.00 w/coupled rangefinder No. 3 AUTOGRAPHIC KODAK Special Camera 1914 1926 118 86.00 No. 3A AUTOGRAPHIC KODAK Special Camera 1914 1916 122 74.00 No. 3A AUTOGRAPHIC KODAK Special Camera 1916 1934 122 109.50 (w/coupled rangefinder) Boy Scout KODAK Camera (V.P.
  • Photography Fundamentals Interpreted

    Photography Fundamentals Interpreted

    AHS Capstone Annotation Benjamin Bloom Gillian Epstein, advisor 10 May 2006 Photography: A Momentary Capture of Light Background The word photography, if translated etymologically, means “light-writing.”1 This very broad meaning has come to encompass a myriad of techniques and forms, from rudimentary early Daguerreotypes to modern digital imaging, each medium connected by the use of light to form an image. The photographic medium is a modern invention, first achieved on a sensitized pewter plate in 1826 by the French inventor Nicéphore Niépce.2 Photography has matured immensely in technology and technique over the past 180 years, providing a wide array of possibilities for the modern photographer. My project uses the two most common contemporary photographic methods, digital imaging and 35mm film, to explore the essence of photography as an artistic medium. In 1884, George Eastman, the founder of Eastman Kodak Company, invented a technique to coat paper with a light sensitive dry gel: the first photographic film. This invention brought photography to the consumer market because it was a self-contained system that did not require the consumer’s use of toxic chemicals.3 Modern film consists of a plastic substrate covered with a gel containing light-sensitive silver halide crystals (the emulsion). After the film is exposed to light, chemicals used during developing convert the silver halide crystals in the emulsion into visible metallic silver.4 This process leaves a negative image on the film, called the negative at this point in the process, and can be used to make positive image prints. To make a positive print, light is projected through the negative onto a sheet of paper that has been coated with a light-sensitive emulsion (a 1 Prosser, Jay.
  • Photofinishing Prices 08-01-19 X CUSTOMER 08-03-19.Pub

    Photofinishing Prices 08-01-19 X CUSTOMER 08-03-19.Pub

    Miscellaneous Film Processing Services (Page 1 of 2) August 1, 2019 110 & 126 Develop, Scan & Print (C-41) Seattle Filmworks 35mm Processing Service Time: 10 Lab Days Matte or Glossy finish prints. Process: ECN-II or SFW-XL. Service Time: up to 2 weeks. C-41 process. Prints, if requested, on Kodak Royal paper. Applicable Films: Seattle Filmworks; Signature Color; Scanning the negatives is required prior to making prints. Eastman 5247 or 5294; Kodak Vision 2 or Vision 3 500T / We develop your cartridge of negatives ($4.90), scan the 5218 or 7218. visible images ($1.58 per negative), and, if requested, make prints ($0.20 per print). Scans are written to CD (no charge). Choose Matte or Glossy, 4x6 or 3½x5. Kodak Royal Paper. 110 film makes 4x5" prints. 126 film makes 4x4" prints. Default service is 4x6 Matte prints (if you don’t specify). Minimum charge : $12.00 Develop Only service Minimum Charge : $4.90 Develop Only service (blank film) ECN-II Develop & Print 4x6 or 3½x5 Identical 110 & 126 C-41 Develop Negatives & Scan to CD First Set 2nd Set Develop Develop & 20 or 24 Exposure ....................... 22.95 .................... 6.00 & Scan Scan & Print 36 Exposure ................................ 26.95 .................... 9.00 12 Exposure ................................ 23.86 .................. 26.26 Scan ECN-II process film to CD: 24 Exposure ................................ 42.82 .................. 47.62 Discount for unscannable negs ….1.58 each 1Reprint 2Enlargement Discount for prints not made from blank images ..........20 each Quality Quality Scanning Price per Roll CD CD Scans & Prints from Old 110 & 126 Negs with Develop & Print ..........
  • All That Is Solid: a Celluloid Exploration of Brutalist Architecture

    All That Is Solid: a Celluloid Exploration of Brutalist Architecture

    ALL THAT IS SOLID: A CELLULOID EXPLORATION OF BRUTALIST ARCHITECTURE EVA KOLCZE A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF OF MASTER OF FINE ARTS GRADUATE PROGRAM IN FILM YORK UNIVERSITY TORONTO, ONTARIO MAY, 2014 © Eva Kolcze, 2014 Abstract All That Is Solid is an experimental film that investigates Brutalist architecture through the decayed surface of black and white celluloid. The film features three locations: Robarts Library, The University of Toronto Scarborough campus (UTSC) and the Ross building at York University. All are prominent examples of Brutalist architecture on university campuses. Footage of the buildings has been degraded using photochemical processes that result in unique patterns of decay. The decay processes are used to draw material and aesthetic connections between concrete and celluloid. By distressing and dissolving images of massive buildings, the film explores how time breaks down all materials, even solid concrete. The film also explores the shifting reactions and responses to the buildings, from their initial praise by the architectural community as cutting edge and futuristic, to the intense public backlash that followed shortly after they were built. ii TABLE OF CONTENTS Abstract .................................................................................................................. ii Table of Contents……………………………………………………………………….iii Evolution Of The Project .......................................................................................
  • UK Photography Activity Badge

    UK Photography Activity Badge

    making a start in photography Jessops is proud to support The Scout Association and sponsor the Scout Photographer Badge know your camera! welcome to the Single use cameras SLRs Digital cameras Single use cameras offer an inexpensive and ‘Single lens reflex’ cameras, often called SLRs, Digital cameras come in both compact and SLR exciting world of risk-free way to take great photos. They are built come in two main types - manual and auto-focus. formats. Rather than saving an image to film, complete with a film inside and once this is used SLRs give you greater artistic control as they can digital cameras save images onto memory cards. photography! up, the whole camera is sent for processing. They be combined with a vast range of interchangeable They have tiny sensors which convert an image are perfect for taking to places where you may lenses and accessories (such as lens filters). You electronically into ‘pixels’ (short for picture To successfully complete the Photographer Badge, be worried about losing or damaging expensive can also adjust almost every setting on the camera elements) which are put together to make up the you will need to learn the basic functions of a equipment (Scout camp for example) and you can yourself - aiding your photographic knowledge complete image. camera, how to use accessories, and how to care even get models suitable for underwater use - and the creative possibilities! for your equipment. You will also need to Capturing images this way means that as soon as perfect for taking to the beach! understand composition, exposure and depth of With manual SLRs, the photographer is in complete the picture is taken, you can view it on the LCD field, film types, how to produce prints and control - and responsible for deciding all the screen featured on most digital cameras.
  • Price List NEW.Pmd

    Price List NEW.Pmd

    Price List November 2014 The essential guide to the very best photographic equipment and materials Telephone: 01636-823922 Fax: 01636-821719 Email: [email protected] wwwwww.mor.morcoco.uk.com.uk.com We supply all these top brands... Agfa Hahnemühle Manfrotto Quantum Ansmann Harman Marrutt Reflecta Apple Heliopan Marumi Richards B+W Hensel Medalight Rodenstock Beattie Herma Metz Rosco Benbo Hewes Morco Rotatrim Benro Hitech NEC Samyang Billingham Holga Nissin Sandisk Bowens Hot Press Nova Savage Braun Hoya Omega Sekonic Camlink HP OpTech Sigma Canon Ilford Orchard Silvestri Canson Just Oregon Slik Cokin Kaiser Osram Snapshut Colorama Kenko Panasonic Sony Creativity Kenro Pantone Sunpak Delkin Kentmere Paterson Tamrac Douglas Kodak Peli Tamron Eclipse LaCie PermaJet Tetenal Elinchrom Lastolite Philips Toyo Energizer Lee Photolux Velbon Epson Lensbaby PhotoTherm Visible Dust Falcon Lexar Pinnacle Wein Fotospeed Light Craft Pocket Wizard Westcott Fuji Linhof Polaris X-Rite GePe Lowepro Polaroid Zeiss Gossen Lyson Morco Limited College Farmhouse, Cromwell, Newark, Nottinghamshire, NG23 6JE England Telephone: +44 (0)1636-823922 Fax: +44 (0)1636-821719 Email: [email protected] www.morco.uk.com Introduction Contents Welcome to The MORCO Price List. Page Inkjet Paper and Digital Consumables Since 1987 Morco has been a supplier of a wide range of Ilford Paper.................................................. 1 top quality products to the professional and amateur Fotospeed Paper......................................... 2 photographic and allied markets. Permajet Paper........................................... 2 - 6 Pinnacle Paper............................................ 7 We are the UK distributor for BEATTIE, PHOTOTHERM Hahnemühle Paper...................................... 8 - 9 and WEIN products, we also manufacture/produce MORCO Harman Paper............................................. 10 PHOTOGRAPHIC products. These products are available SnapShut Folio Covers...............................
  • Photographic Printer

    Photographic Printer

    Europaisches Patentamt 19 European Patent Office Office europeen des brevets (TT) Publication number: 0 393 661 B1 12 EUROPEAN PATENT SPECIFICATION (45) Date of publication of patent specification © int. ci.6 : G03B 27/80, G03B 27/46 01.02.95 Bulletin 95/05 (21) Application number: 90107424.5 (22) Date of filing : 19.04.90 (S) Photographic printer. (30) Priority: 20.04.89 JP 100963/89 (73) Proprietor : Fuji Photo Film Co., Ltd. 210 Nakanuma Minamiashigara-shi (43) Date of publication of application Kanagawa-ken (JP) 24.10.90 Bulletin 90/43 (72) Inventor : Suzuki, Kenji, c/o Fuji Photo Film Publication of the of the Co., Ltd. (45) grant patent : 798 01.02.95 Bulletin 95/05 Miyanodai, Kaisei-machi Ashigarakami-gun, Kanagawa (JP) @ Designated Contracting States : DE FR GB (74) Representative : Patentanwalte Griinecker, Kinkeldey, Stockmair & Partner Maxim ilianstrasse 58 (56) References cited : D-80538 Miinchen (DE) FR-A- 1 324 026 US-A- 4 786 944 US-A- 4 797 713 CO CO CO CO o> CO Note : Within nine months from the publication of the mention of the grant of the European patent, any person may give notice to the European Patent Office of opposition to the European patent granted. Notice of opposition shall be filed in a written reasoned statement. It shall not be deemed to have been LU filed until the opposition fee has been paid (Art. 99(1) European patent convention). Jouve, 18, rue Saint-Denis, 75001 PARIS 1 EP 0 393 661 B1 2 Description Objects of the Invention Field of the Invention The present invention is made to solve the above described problems, and has an object to provide a The present invention relates to a photographic 5 photographic printer in which it is possible to surely printer, and more particularly to a photographic printer detect light for light measurement or for imaging while having a photometerical device for measuring the maintaining the security of photographic films and density of an image to be printed and/or an imaging achieving sufficiently high speed printing of popular device for displaying the image on a monitor.
  • FILM FORMATS ------8 Mm Film Is a Motion Picture Film Format in Which the Filmstrip Is Eight Millimeters Wide

    FILM FORMATS ------8 Mm Film Is a Motion Picture Film Format in Which the Filmstrip Is Eight Millimeters Wide

    FILM FORMATS ------------------------------------------------------------------------------------------------------------ 8 mm film is a motion picture film format in which the filmstrip is eight millimeters wide. It exists in two main versions: regular or standard 8 mm and Super 8. There are also two other varieties of Super 8 which require different cameras but which produce a final film with the same dimensions. ------------------------------------------------------------------------------------------------------------ Standard 8 The standard 8 mm film format was developed by the Eastman Kodak company during the Great Depression and released on the market in 1932 to create a home movie format less expensive than 16 mm. The film spools actually contain a 16 mm film with twice as many perforations along each edge than normal 16 mm film, which is only exposed along half of its width. When the film reaches its end in the takeup spool, the camera is opened and the spools in the camera are flipped and swapped (the design of the spool hole ensures that this happens properly) and the same film is exposed along the side of the film left unexposed on the first loading. During processing, the film is split down the middle, resulting in two lengths of 8 mm film, each with a single row of perforations along one edge, so fitting four times as many frames in the same amount of 16 mm film. Because the spool was reversed after filming on one side to allow filming on the other side the format was sometime called Double 8. The framesize of 8 mm is 4,8 x 3,5 mm and 1 m film contains 264 pictures.
  • Introduction

    Introduction

    CINEMATOGRAPHY Mailing List the first 5 years Introduction This book consists of edited conversations between DP’s, Gaffer’s, their crew and equipment suppliers. As such it doesn’t have the same structure as a “normal” film reference book. Our aim is to promote the free exchange of ideas among fellow professionals, the cinematographer, their camera crew, manufacturer's, rental houses and related businesses. Kodak, Arri, Aaton, Panavision, Otto Nemenz, Clairmont, Optex, VFG, Schneider, Tiffen, Fuji, Panasonic, Thomson, K5600, BandPro, Lighttools, Cooke, Plus8, SLF, Atlab and Fujinon are among the companies represented. As we have grown, we have added lists for HD, AC's, Lighting, Post etc. expanding on the original professional cinematography list started in 1996. We started with one list and 70 members in 1996, we now have, In addition to the original list aimed soley at professional cameramen, lists for assistant cameramen, docco’s, indies, video and basic cinematography. These have memberships varying from around 1,200 to over 2,500 each. These pages cover the period November 1996 to November 2001. Join us and help expand the shared knowledge:- www.cinematography.net CML – The first 5 Years…………………………. Page 1 CINEMATOGRAPHY Mailing List the first 5 years Page 2 CINEMATOGRAPHY Mailing List the first 5 years Introduction................................................................ 1 Shooting at 25FPS in a 60Hz Environment.............. 7 Shooting at 30 FPS................................................... 17 3D Moving Stills......................................................