If You Have Issues Viewing Or Accessing This File Contact Us at NCJRS.Gov

Total Page:16

File Type:pdf, Size:1020Kb

If You Have Issues Viewing Or Accessing This File Contact Us at NCJRS.Gov If you have issues viewing or accessing this file contact us at NCJRS.gov. >~ ~. ' .. " •• ttU r I ' .~. -.' .. ., Hi "M . ..,~., ... v. :-- ;: fJ ., ~.\ ',I, U '\ .ri '" Typical ~hotographic As~lgnments .......... ' 1 " _, • lC.,,?, The .use oflr'aCle'"J'Iames<"or company 'prOducts Ln-<> II ,.. h " ., • " . II ","'" II ,. II.' ••• II ••••• 9 this guiaeilbes·'Qol",c9ns\:il~~eendor~me~oro. '" \I vam!=!ras ....... ',~"" o(~ recomtne'ndation''by ihe~ Nati'onin{13l.reau of ---- ....'. ~ •Starjd~rds .and .. dOes~~!ttiih)i\C¥hat,:'the" products ••• 10 10 ::' .... '. II .. ~ .. i~ • ...... ";11 ... '. II II ........... ""1 25 f\e~eSSarny ,theJjest available'fot.tHe pLirpo::;9p , . b . .,~):::.::r"'·1 ) ·t " ' ....... "''''- ;.. (' " El<posUre Meters .•.•.•• : ~ .•..•..•••...• t. 39 ••• II II II ' ••• II II •• III •••••••• 51 o;l1' il Filters and Other, Accessories .. II' ~ •• 11.11 •• 11.57 (' L .' \\ ('. ~, , " ,"-' ' .." & ££ $. I , .r ,t· 'e ..... I ., ~.;aoo--.J: __ q"",>i , ,J' " ~ 1.1 "" " "';" ·'.f. " ~ t? ....__ ...· ......... , ... H_t·Jla_:'W_I ....... ,...... _ ... _ ...._:.i .... '1 " ~ '·,.~~m.~,,/, ~~"~"'l,Q1J~·_7_rl.-, _ .... IQ'-.I~ .,;~_·, _~~._~~~~, " 'C. "'(f' 'II /J r II' '0 I , I 1) (;) "1 '(,,(, o Ii "' 'ill !/ 1,- j( Q e ~i ~.' 00 J IJ " ," , <J -:,. r; b "FOREWORD (\ ,c". , '2 "I., , G ',j I~I <-> <"~1" "0 if I" ' j j ii' " ""', ' ti "~" I " a If" The Law Enforcement'Standards Laboratory (lE$,L) of .the National Bureau of Standards .(Nas) ,c) furnishes technical support to the National InstitlJle of Law (Enforcement and Criminal JOstice o '" ,,(NILEOJ) program to strengtben law enforcement and criminal justice in the United ·States. LESL's fUnctlo,1t, is" to conduct research that will assist law enforcement and criminal justice Q' agencies in the, selec~ion and procuremehtoof quality) equipn'j(~nt. " ( " LESL' ,is: ,(1) Subjecting., existing equipment 'to Ilb~~atOrytesting and evaluation and (,2) confjucting . research .Ieading to the development of several series of documents, including I)." 0' nati"nal volul1tary equiptnenfstandards, user guides,and technical reports., " .' . ' j'; ThiS' ddCt6mehtls a law anforcel11entequipment guide developed by lESL under the sponsorship of NILECJ .. Additional gujdes as well as other docum£lhts are being issued under the '. LESL program in the areas of proiective equipment, communications equ'ipment, security ~ osystems, Weapdhs,emergencyequipment, investigative aids, vehi,cles and clothing. ' tp.c~"~",'il~' ~"'~~"~i~~ _O~"='~~'".c, , .. , __ ~,~ __ "~- ____ , __ -_-,.'c Technical comments find suggestions concerning this guiere are invited from all interested 'parties. l"hey may be addressed to the author or to the Law Enforcement &tandal'ds Laboratory, National Bureau of Standards, Washington, D.C. 202a4,:" '~'l C .'\.'; LJ Jacob.J. Diamond Ch/ef, Law Epforcerneflt Standards Laborstoly II : , ' C? , , J".,,' ,-'""" .., \" OJ. /' ,."., " ','--.:J."I '.'.1' .v ,. , we •• a .pe J ill i'Z4 • Ii_ a .e. 'i ilh !B$1 --.c,-. ,___ "'~" _ __-.- ______--".---~- ___...,,"f!',j--""t/'~- -~~----~--~----~--~--- a --~.~.--. ,,1 /- ' .. ' o .___ ..... __. _.:_u_._,_~""~~,, /i I II, 1./ /. .' C I .'i' 'INT:RODUCTION C' TVPIC'AL (i " • 'I. PHOTOGRAPHIC M r;±iVEH • f t ' wO ASSIGNMENTS Virtually e~ery segment 'Of t~e law enforcement equipment reliability", factors that must a1lj'i$ 1 community makes extensive use of photography taken into account when selecting equipment. J;'~ . \J on a d'mily basis," pr~par~ng documentation, evi:' Matching,. equipment characteristics to specific I "dence, or visual aids for training and public assignments will help in the selection of the,: I education. Law enforcement photography,8s' a type that will Ptoduce tlie highest picture quality. specialt}',probablY em:ompa~ees a' broader Judgment will t)8Ve to bie exercised and compro­ , range of specialized phofographicskills It-han mises may have to be made,.based upon the rel a \ any other recognized branch of the photog('aph m ative frequency qf use of each type of equip­ \ Ic profession. This guide briefly discusse~ thl3 ment, personnel skills, and personal preference. typical assignments that are encountered on a Only the individual who knows the requirements routine J;~sis and' reviews the types of pictures of the user can Judge these points properly. t. • () tha~ tfi~ photographer must obtain in eacll" instance. Those problems that are unique to In G field such'as law enforcement photography, specific assignments are identified, and some WhEli'9 widely diverse subjects are norma', the lusefulphotographjc techniques, are described. skill of the individual photographer is of maxi­ Cameras, lens,~s, film, exposure meters; lighting mum importance, and equipment canndJ be sub­ equipment, and accessories, are also disqussed, stituted for professional competency. The , with emphasis on the characteristics that are im­ ',' greate$t portion of the annual! cost of photo­ portant to law enforcement applications. graphic services, goes for' labor rather: than for equipment or materials. It woufd be sheer folly, The upsurge in popularity of photography therefore, handicap the photographer by I to Basic law enforcement photographic among. the general public na~freBulted in a floOd " forcing him use inferior equipment which to assignments are traditionally classified \) of new equiprr,tent, particularly in the 35 mm " wast~s his time and; talEmt. It. is hoped that this according to the crime or the object \\ I , field. The professional photographer has guide will assist in the logical selection pf photo­ photographed: homicide, burglary, break­ 1\ ing and entering, arson, sex crimes, etc.; 'i benefited greatly from the availability of this so­ graphic equipment which is best suited to the mug shots, fingerprints, physical evidence, phisti~ated equipment.., On the other hand,' the : job to be done. " documents, etc. .~ demand for specialized law enforcement equip­ i men~ is relatively "small, and some of the Jhe major manufacturers maintain" technical ',I popularly ad~~rti!ed equipment is not suitable $rafts to answer questions and assist in the ap­ for, taw enfo(Gtiiifent use. The individual makIng plication of their products to specmc uses. They \ '.,~ , ' ·Y, . •• the ~election must c~oose from the large vanety have published, a number of tlandbooks. which is commercially available. The final manuals, and technical bulletins that discuss choice Is otten a compromise. specific law enforcement applications, such as forensic and evidential photography, in depth. In The purpose of this guide is to assist those law addition, the monthly photographic magazines enforcement and procurement officials who are contain a great variety of photographic informa­ not \\technically trained in. photography in the se­ tion and can enable a police department to lection and application of photographic equip­ ber'eme aware of new products as they are '\ ment Which will meet their needs. The basic i' int'oduced. The importance of keeping current operating principles of cameras, lenses and with,. photographic technology cannot be over other equipment are described in order to make emphasized. A month never goes by without the . it easier' to discuss the considerations which introduction of a new camera, film, or affect their application to different photographic accessory; which may often be ideally suited to assignments. Emphasis is placed upon picture law enforcemer:lt application. quality, acquisition, and operating costs, and vi ,~,_".·.c_~I_'__ '-- ______ ·__ """"'" I '<~ ~ -- ; ; un j : " ,. :. ",,' I,' " .w l' ad .M BP, e II -r - JUS $ Ii .r -uv , I' ~: , C' o .-.\. (I " graphed !n detail~ ~overage must be SUfficiently tion (suc~ a~ a broken store windo\i!) to very () thorough to leave no possibility for later require'" small objects under poor illumination and in "'I ments. wllie" were not anticipated at the time. inac~essible locati~ns (sf,lch as a bullet h0l.~, at. After a full set of.pictu(e's has been made,of the the scene of a shooting); .." .~/. ! • ,. I ,I victim as found,' it will often be' nec'essary to . t~ke ,add!tional, pictures of the body, wounds, In, many instartcas, the crime sc~me photograph" . jI blood; stains underJhe body; or other additional will b~ the only record of physical evidence (or. Crime s2ene' a~d ~hy~'cai EYh~tence ,of the point of entrY, {oolmarks, ,trace evidence if evidence.onc;:e the body has been moved. ,. As' later use, such as damage to a .arge wall safe' such as cigarette butts, articles left at the scerie Photo9~raPhY :, i' with. an iir'iv~stigation of breaking and entering," that cannot be removed, from the property; in t such as fools, the condition of various rooms points of, entry and exit are important. other cases, it will be possible to fake items to, ( t and areas from were taken, finger­ f Photographs talj;E3:rJ:.~attj'~E!' ~cene of a crime" are (yhic~ ~rticles the laboratory for further examination ancLp~o.. prints " or footprinfs :and the .a~,icles area The photographic conditions encountered "jn I essentiat t9,th,lE'f n,v,'e'Gti'~,!!1tion ~nd for later pro, s, Sa or tography. ,Weaponsal1cL tools' Can' Di:fstudied ~ I ·1I eUtiort'of those bharg~~ with theoffenseo The where found, and. the known or possible paths crime scene aSSignments. involve a wide range~/ u~ of exit. ., and ph.otdg~pfled to' display fingerprints,' or purpose of crim~ scene pictures is to show in from large exterior objects under good Ulur'nina- . uniqUe chara~teristics that will aid in the investi- deJaU
Recommended publications
  • Improve Your Night Photography
    IMPROVE YOUR NIGHT PHOTOGRAPHY By Jim Harmer SMASHWORDS EDITION * * * * * Improve Your Night Photography Copyright © 2010 Jim Harmer. All rights reserved THE SALES FROM THIS BOOK HELP TO SUPPORT THE AUTHOR AND HIS FAMILY. PLEASE CONSIDER GIVING THIS BOOK A 5-STAR REVIEW ON THE EBOOK STORE FROM WHICH IT WAS PURCHASED. * * * * * All rights reserved. Without limiting the rights under copyright reserved above, no part of this publication may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form, or by any means (electronic, mechanical, photocopying, recording, or otherwise) without the prior written permission of both the copyright owner and the above publisher of this book. This is a work of non-fiction, but all examples of persons contained herein are fictional. Persons, places, brands, media, and incidents are either the product of the author's imagination or are used fictitiously. The trademarked and/or copyrighted status and trademark and/or copyright owners of various products referenced in this work of fiction, which have been used without permission, is acknowledged. The publication/use of these trademarks and/or copyrights isn’t authorized, associated, or sponsored by the owners. The copyright notice and legal disclaimer at the end of this work is fully incorporated herein. Smashwords Edition License Notes This ebook is licensed for your personal enjoyment only. This ebook may not be re-sold or given away to other people. If you would like to share this book with another person, please purchase an additional copy for each person you share it with. If you're reading this book and did not purchase it, or it was not purchased for your use only, then you should return to Smashwords.com and purchase your own copy.
    [Show full text]
  • The Photo College
    Basic Flash Photography Table of Contents Flash Basics - Guide Numbers, Bounce, Camera Settings, Lens AOV Manual Flash - Power Adjustments Built-In Flash - Beyond your Instruction Manual Dedicated Flash - Shutter speeds, Adapters TTL Autoexposure Flash - Sensors, Light Meters, Autofocus FLASH BASICS Every time you use your flash do you wince? Did your inner self nudge you with that ‘It’s gonna be a lousy FLASH shot!’ question? Do you take more flash shots of the same thing than you really need just because the uncertainties of ‘Flash Photography’ scare you? I might scare you but your flash can be tamed. Flash units provide portable light for your low-light photography. That’s low-LIGHT. You put batteries in and get bright light out. Ah, but how much light do you get out and how can you be sure it’s the correct amount of light? Read your Instruction Manual? That’s a start; but not a finish. In most situations you can set your flash to one setting and just leave it there. And as most people find themselves taking the same general types of pictures each time they grab the camera, you will find yourself actually ‘remembering’ your flash settings without even considering the consequences. It’ll come naturally to you. So, now that we’ve broken the ice let’s get through the hard part that you’ll probably never need to know; ‘Guide Numbers’! A flash unit’s Guide Number, or GN, is it’s rating of maximum light output at full power with fresh batteries. The higher the GN the brighter the light.
    [Show full text]
  • Still Photography
    Still Photography Soumik Mitra, Published by - Jharkhand Rai University Subject: STILL PHOTOGRAPHY Credits: 4 SYLLABUS Introduction to Photography Beginning of Photography; People who shaped up Photography. Camera; Lenses & Accessories - I What a Camera; Types of Camera; TLR; APS & Digital Cameras; Single-Lens Reflex Cameras. Camera; Lenses & Accessories - II Photographic Lenses; Using Different Lenses; Filters. Exposure & Light Understanding Exposure; Exposure in Practical Use. Photogram Introduction; Making Photogram. Darkroom Practice Introduction to Basic Printing; Photographic Papers; Chemicals for Printing. Suggested Readings: 1. Still Photography: the Problematic Model, Lew Thomas, Peter D'Agostino, NFS Press. 2. Images of Information: Still Photography in the Social Sciences, Jon Wagner, 3. Photographic Tools for Teachers: Still Photography, Roy A. Frye. Introduction to Photography STILL PHOTOGRAPHY Course Descriptions The department of Photography at the IFT offers a provocative and experimental curriculum in the setting of a large, diversified university. As one of the pioneers programs of graduate and undergraduate study in photography in the India , we aim at providing the best to our students to help them relate practical studies in art & craft in professional context. The Photography program combines the teaching of craft, history, and contemporary ideas with the critical examination of conventional forms of art making. The curriculum at IFT is designed to give students the technical training and aesthetic awareness to develop a strong individual expression as an artist. The faculty represents a broad range of interests and aesthetics, with course offerings often reflecting their individual passions and concerns. In this fundamental course, students will identify basic photographic tools and their intended purposes, including the proper use of various camera systems, light meters and film selection.
    [Show full text]
  • Teacher's Guide for Grade Five, Preliminary National Science
    DOCUMENT RESUME ED 14.8 619 SE 023 745 TITLE COPES, Conceptually Oriented' Prqgram in Elementary Science: Teacher's Guide for Grade Five, Preliminary Edition. INSTITUTION New York Univ., N.Y. Center for Field Researcli:and School Services. SPONS AGENCY National Science Foundation, Washington, D.C.; Office . - of Education (DHEW), Washington, D.C. PUB DATE . 73 NOTE . 437p.: For related documents, see SE 023 743-744 and ED 054 939; Not available in hard copy due to copyright restrictions AVAILABLE FROM Center for Educational Research, -New York University, 11 Press Building, Washington Square, New York, N.Y. 10003 ($8.40; over 10, .less, 2%, over 25, 'less 5%) EDRS PRICE, HF-$0.83,Plus Postage. HC Not Available from EDRS. DESCRIPTORS Curriculum; *Curriculum Development; Curriculum Guides; Elementary Education; *Elementary School Science; *Grade 5;- Science CurriculuM; Science Education; *teaching Guides IDENTIFIERS *Conceptually Oriented Program Elementary Science . ABSTRACT This ddcument provides the teacher's guide for grade five for the Conceptually Oriented Program in ElementaryScience (COPES) science curriculum project. The guide includes an introduction to COPES, instructions for using .the guides instructions . for assessment of student's grade 4 mastery of science concepts,-and five science units. Each unit includes from three to live activities and an assessment. Unit topics include: cells, work, heat, energy transformations, and investigating populations. Each activity includes a teaching sequence and commentary. 014 *********************************************************,*********** * Documents acquired by ERIC 'include many informal unpublished '* * materials not available from other sources. ERIC makeS every effort * * to obtain the best copy available. re-yerthelesS, items of marginal * ..,*reproducibility are 'often encountered and this affects the quality * /Of the microfidhe and hardcopy, reproductions ERIC makes available * * via the ERIC Document Reproduction Service (EDRS).
    [Show full text]
  • 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.
    [Show full text]
  • BLUETOOTH SHUTTERBOSS User Manual THANK YOU for CHOOSING VELLO
    BLUETOOTH SHUTTERBOSS User Manual THANK YOU FOR CHOOSING VELLO The Vello Bluetooth ShutterBoss ideal for eliminating vibrations shutter exposures in multiple Advanced Intervalometer during macro, close-up, and firing modes, the Bluetooth represents the new generation long exposure photography, ShutterBoss is the future of of wireless triggering. Utilizing as well as for taking images wireless camera controls. the power of Bluetooth of hard to approach subjects, technology, the Bluetooth such as wildlife. The Integrated ShutterBoss empowers the user intervalometer and 10 setting to an Apple® iPhone®, iPad®, schedules allow you to trigger iPad mini™, or iPod touch® up to 9,999 shots during a to wirelessly trigger their period of almost a full day – camera’s shutter. This makes 23 hours, 59 minutes, and 59 the Bluetooth ShutterBoss seconds. Capable of activating 2 FEATURES • Wireless Bluetooth • Multiple shooting modes communication with Apple iPhone, iPad, or iPod touch • Compact and easy to use • Advanced intervalometer with • Ideal for advanced up to 10 scheduling modes intervalometer photography, macro, close-up, and long • Free app on the App StoreSM exposures 3 PRECAUTIONS • Please read and follow these • Do not handle with wet hands • Observe caution when instructions and keep this or immerse in or expose handling batteries. Batteries manual in a safe place. to water or rain. Failure to may leak or explode if observe this precaution could improperly handled. Use • Do not attempt to result in fire or electric shock. only the batteries listed in disassemble or perform any this manual. Make certain to unauthorized modification. • Keep out of the reach of align batteries with correct children.
    [Show full text]
  • Large Format Camera
    Large format Camera Movements and Operation Presented by N. David king 619-276-3225 © N. David King All rights Reserved Large Format Camera Movements and Operations Page 1 COURSE CURRICULA he Large format camera, in “View” and “Field” versions, are the T primary tool for many of the commercial/professional photographic disciplines. Especially for product, advertising, illustration, and high-end fashion and portraiture work, as well as for landscape and nature photography this workhorse camera is the tool selected whenever the ultimate in quality is required. This course will teach the rudiments of using this tool to control and enhance the image. Why Large Format Large format cameras shooting a negative in the 4”x 5” size and larger are cumbersome to carry and slow to set up. So why would a working photographer with deadlines to meet, bother? The answer is in the resulting image quality and image control. No other photographic tool, including digital post acquisition image manipulation, provides the degree of control and quality available in this format. Even where the image will be manipulated after acquisition by traditional airbrushing, darkroom techniques, or via digital editing, the old rule of thumb still applies: the better the original image, the better the results will be. Course Objectives After successfully completing this course. The student will be able to set up and operate a large format camera and use its optical and film plane movements to control the distortion and depth of field of their photographs. Course Elements The complete course will contain: 1. An instructor-led lecture and demonstration, 2.
    [Show full text]
  • Carl Zeiss, 32, Wagnergasse, Jena, Germany. ((1847) Also: 29/II Dorotheen Strasse 29, Berlin, Germany
    Carl Zeiss, 32, Wagnergasse, Jena, Germany. ((1847) also: 29/II Dorotheen strasse 29, Berlin, Germany. (1901) and 29, Margaret St, Regent St, London W (1901) The founder, Carl Zeiss (1816-1888) was born in Weimar, the son of a cabinet maker and ivory carver. He graduated from school in 1834, qualified to be apprenticed to the Grand Dukes Instrument maker, Dr Koerner, and attended academic courses as well as working as apprentice. Next he travelled from Jan. 1838 to Oct. 1845 to study in Stuttgart, Darmstadt, Vienna, and Berlin to broaden his experience. Back at home, he studied chemistry and higher mathematics. By May 1845, he felt well enough qualified to apply to the County Administration at Weimar for permission to found "An establishment for the production of advanced mechanical devices", hoping for a relationship with the University to advance designs. Money was tight with capital of 100 Thalers (possibly £100) only, but in Nov. 1846, he opened at 7, Neugasse. It remained a small business for years, as it took some 20 years for the University relationship to be productive, and he often grew weary of the trial and error methods traditionally used in the trade. Much of the production was of microscopes- often relatively simple ones by modern standards, such as dissection viewers. Then in 1863, a young lecturer Ernst Abbe (1840-1905) joined the University to teach physics and astronomy. Zeiss approached him in 1866 for cooperation in the design of improved systems and this lead to new ideas, eg in the Abbe refractometer (1869), a comparator and a spectrometer.
    [Show full text]
  • Bronica Sq-A-M.Pdf
    Congratulations on your choice of the Zenza Bronica SQ-Am single lens reflex camera which has been developed to provide the user with high quality performance, simple handling convenience and extremely useful versatility plus automatic motorized film winding and shutter cocking operations suitable for the professional photographer. Although the Zenza Bronica SQ-Am has been designed exclusively for motorized operations, it has, also, been developed as a complete modular "system" camera possessing complete interchangeability with the interchangeable lenses and accessories developed for the SQ and SQ-A models, on which the SQ-Am is also based, and, therefore, provides the user with a very high degree of motorization in daily operations, in addition to automatic film winding and shutter cocking actions. Although instructions following are based on a standard combination consisting of the SQ-Am main body with Zenzanon-S 80mm lens, Film Back SQ 120 and WaistLevel Finder S, the choice of the lens, film back and finder is left to the discretion of the photographer, who should choose those items best suited to the type of assignments contemplated. To obtain best results from the Zenza Bronica SQ-Am, may we suggest that you read this instruction manual through carefully, before you even touch the camera, as your pleasure in using the camera will be even greater if you thoroughly familiarize yourself with its working parts before loading your first roll of film. CONTENTS Specifications of the ZENZA 17. Interchanging Finders ................................23 BRONICA SQ-Am ......................................... 2 18. Waist-Level Finder and Parts of the ZENZA BRONICA Interchanging Magnifiers ..................................23 19.
    [Show full text]
  • 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.
    [Show full text]
  • Film Appreciation Wednesdays 6-10Pm in the Carole L
    Mike Traina, professor Petaluma office #674, (707) 778-3687 Hours: Tues 3-5pm, Wed 2-5pm [email protected] Additional days by appointment Media 10: Film Appreciation Wednesdays 6-10pm in the Carole L. Ellis Auditorium Course Syllabus, Spring 2017 READ THIS DOCUMENT CAREFULLY! Welcome to the Spring Cinema Series… a unique opportunity to learn about cinema in an interdisciplinary, cinematheque-style environment open to the general public! Throughout the term we will invite a variety of special guests to enrich your understanding of the films in the series. The films will be preceded by formal introductions and followed by public discussions. You are welcome and encouraged to bring guests throughout the term! This is not a traditional class, therefore it is important for you to review the course assignments and due dates carefully to ensure that you fulfill all the requirements to earn the grade you desire. We want the Cinema Series to be both entertaining and enlightening for students and community alike. Welcome to our college film club! COURSE DESCRIPTION This course will introduce students to one of the most powerful cultural and social communications media of our time: cinema. The successful student will become more aware of the complexity of film art, more sensitive to its nuances, textures, and rhythms, and more perceptive in “reading” its multilayered blend of image, sound, and motion. The films, texts, and classroom materials will cover a broad range of domestic, independent, and international cinema, making students aware of the culture, politics, and social history of the periods in which the films were produced.
    [Show full text]
  • Canon Lenses Canon Lenses from Snapshots to Great Shots
    final spine = 0.4625" Canon Lenses Lenses Canon From Snapshots to Great Shots You own a Canon DSLR, but which Canon lens is best for your shooting Jerod Foster is an style and your budget? This guide by pro photographer Jerod Foster editorial and travel From Snapshots to Great Shots Great Snapshots to From will help you learn the features of Canon lenses to capture the photographer and author of Sony NEX-6: From stunning pictures you want for a price that matches your needs. Snapshots to Great Shots; Foster starts with the basics of using lenses in the Canon lineup— Color: A Photographer’s Guide to Directing the Canon Lenses from kit, to prime, to wide angle, to telephoto, to zoom, and more. Whether it’s portraits, landscapes, sports, travel, or night photography, Eye, Creating Visual Depth, and Con- veying Emotion; and Storytellers: A you will have a better understanding of the different Canon lenses Photographer’s Guide to Developing and your choices for investing in them. In this guide you will: From Snapshots to Great Shots Themes and Creating Stories with • Master the key camera features that relate to lenses—depth Pictures. He also leads photography of field, perspective, and image stabilization workshops and is a photography professor at Texas Tech University. Visit • Learn the difference between full frame versus cropped sensors his website and read his popular and how they affect specific lenses photography blog at jerodfoster.com. • Understand best practices for maintaining your lenses and for taking better pictures • Accessorize
    [Show full text]