Amateur Photographer
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Numéro 74F Février 2016 Jon Fauer, ASC Édition Micro Salon En Franglais
Jon Fauer, ASC www.fdtimes.com Février 2016 Numéro 74F Édition Micro Salon en Franglais La Louma 2 et les égéries L’Oréal Les nouveautés Emit au Micro Salon Rémy Chevrin AFC sur “Nomber One” RVZ REDs et Be4Post PhotoCineLive Vantage Vintage Kinoptik Leica SL 4K Cine Matias Boucard “L’odyssée” Sébastien Buchmann AFC avec Scorpios Léo Hinstin “Paris is Happening” Preston Light Ranger 2 Ronford Atlas 0.4 Chrosziel Moteurs et LWS Lites, Trucks, Cinediving Photo: “Les Saisons” © Galatée Films / Marc Rebuttini www.fdtimes.com On Paper, Online, and now on iPad Art, Technique and Technology Film and Digital Times is the guide to technique and technology, tools and how-tos for Cinematographers, Photographers, Directors, Producers, Studio Executives, Camera Assistants, Camera Operators, Grips, Gaffers, Crews, Subscribe Rental Houses, and Manufacturers. It’s written, edited, and published by Jon Fauer, ASC, an award-winning Cinematographer and Director. He is the author of 14 bestselling books— over 120,000 in print—famous for their user-friendly way of explaining Online: things. With inside-the-industry “secrets-of the-pros” information, Film and www.fdtimes.com/subscribe Digital Times is delivered to you by subscription or invitation, online or on paper. We don’t take ads and are supported by readers and sponsors. © 2016 Call, Mail or Fax: Film and Digital Times, Inc. by Jon Fauer Direct Phone: 1-570-567-1224 Toll-Free (USA): 1-800-796-7431 subscribe Fax: 1-724-510-0172 www.fdtimes.com Film and Digital Times Subscriptions Subscribe online, call, -
D100 Reviews
D100 Feb 2002 - Jun 2003 Digital Photo Techniques May/June 2003 In this review by Stephen Brown, he found the D100 to have accessible controls, fit easily in his hand and produces extraordinary images. Brown stated, “The D100 is Nikon’s answer to serious photographers.” He was impressed with the wide range of color capture options, durability and found the D100 to be “the perfect camera for anyone transitioning into digital.” The Washington Times December 2002 In his review of the Nikon D100, Mark Kellner stated, “Nikon’s D100 makes me want to be a better shutterbug.”Kellner points out that the D100 produces high quality images and has a compact, lightweight design that fits easily into ones hand. Electronic Publishing December 2002 In this review by Ira Gold, he found the D100 to have a great ability to control white balance, fit easily into his hand, and stated “If I were to design my ideal camera, it would look a lot like the D100.” He was impressed with the D100’s high image quality, was easy to navigate controls and compatibility with Nikon’s interchangeable Nikkor lenses. American Photo November/December 2002 In his review of the Nikon D100, Jonathan Barkey points out that the D100 has high image quality, easy to navigate controls, is lightweight, and compatible with Nikon’s interchangeable Nikkor lenses. Barkey was impressed the D100 and said, “The camera is a pleasure to use – with both wonderful handling and top-notch image quality.” Time.com November 2002 In this review of the D100, Wilson Rothman found the camera to have “astounding” picture quality, with easy to navigate controls, similar to Nikon’s film cameras. -
Cyanotypes Handout
Cyanotypes Background/Context Cyanotype is a photographic printing process that produces a cyan-blue print. Engineers used the process well into the 20th century as a simple and low-cost process to produce copies of drawings, referred to as blueprints. The process uses two chemicals: ferric ammonium citrate and potassium ferricyanide. Equipment needed Ferric Ammonium Citrate Scales 3 containers for mixing (ideally brown glass bottles) Potassium Ferricyanide Measuring Jug Plastic Spoons Protective Equipment: Facemask, Brushes & Sponges Glass or Clear Perspex Gloves & Apron Sunlight or UV Source Water trays Heavy papers approx 300 gsm Found materials such as threads, Acetate/Tracing Paper Black pens/china graph pencils leaves, feathers, buttons etc Mixing the Chemicals Using a plastic spoon mix 25g of ferric ammonium citrate with 100ml of water. In a separate container mix 10g potassium ferricyanide with 100ml water. Mix the two solutions together with a 1:1 ratio immediately before use. Chemical solutions can be stored separately in glass brown bottles for months but ammonium ferric citrate will grow mould which will need sieving out. Coating the Papers Wear gloves when applying the solution. In a dark room or room with a low level light the solution can be applied to paper using a brush - or for even coverage use a sponge brush. Keep the coated papers in the dark and ideally leave to dry flat. Dry coated papers can be kept in a light sealed black bag until exposed in sunlight or using a UV light box. Exposing your Image Using sunlight: Place your objects or acetate image on top of the coated side of the paper and place a piece of glass or clear perspex on top. -
Cyanotype Detailed Instructions
Cyanotype Detailed Instructions Cyanotype Formula, Mixing and Exposing Instructions 1. Dissolve 40 g (approximately 2 tablespoons) Potassium Ferricyanide in 400 ml (1.7 cups) water to create STOCK SOLUTION A. Allow 24 hours for the powder to fully dissolve. 2. Dissolve 100 g (approximately .5 cup) Ferric Ammonium Citrate in 400 ml (1.7 cups) water to create if you have Chemistry Open Stock START HERE STOCK SOLUTION B. Allow 24 hours for the powder to fully dissolve. If using the Cyanotype Sensitizer Set, simply fill each bottle with water, shake and allow 24 hours for the powders to dissolve. 3. In subdued lighting, mix equal parts SOLUTION A and SOLUTION B to create the cyanotype sensitizer. Mix only the amount you immediately need, as the sensitizer is stable just 2-4 hours. if you have the Sensitizer Set START HERE 4. Coat paper or fabric with the sensitizer and allow to air dry in the dark. Paper may be double-coated for denser prints. Fabric may be coated or dipped in the sensitizer. Jacquard’s Cyanotype Fabric Sheets and Mural Fabrics are pre-treated with the sensitizer (as above) and come ready to expose. 5. Make exposures in sunlight (1-30 minutes, depending on conditions) or under a UV light source, placing ob- jects or a film negative on the coated surface to create an image. (Note: Over-exposure is almost always preferred to under-exposure.) The fabric will look bronze in color once fully exposed. 6. Process prints in a tray or bucket of cool water. Wash for at least 5 minutes, changing the water periodically, if you have until the water runs clear. -
Los Gatos-Saratoga Camera Club
LGSCC Camera Club losgatos–saratogacameraclub.org Volume 42 Issue 11 ► November 2020 In this issue Notices and Coming Events • November meeting to be online – Covid-19 Issue 8 See the Calendar on our web site for updates or details. • 1st place winners from October tell their stories Mon. November 2nd, Competition - Travel/PJ • 2020 Audubon Photo Awards 7:30 p.m. See deadlines and more info on the website • Adobe MAX roundup - What you missed • October 19th Critique and 22nd Photographer Program • Is modern landscape photography fake? • Free Matt Kloskowski webcast learning • Memoriam - Bill Ray • Information/Education Next Competition - Travel/PJ November 2nd Judge for October 5th will be Ian Bornarth. From his LinkedIn- “I create stock photography and fine art images of subjects including lifestyle, sports, nature and Previous PhotoJournalism image landscape. I occasionally provide photography workshops in the northern California area. www.ianbornarth.com Announcements Travel - A travel photograph must express the feeling of Meeting November 2nd will be virtual. a time and place, portray a land, its people or a culture in Check your email soon for link and full details. its natural state, and has no geographic limitations. Ultra A few points: close-ups which lose their identity, studio-type model shots, • Attendance will be via Zoom meetings or photographic manipulations which misrepresent the true • Categories – Travel, PJ, Color, and Mono situation or alter the content of the image are unacceptable • Submit images same as usual (projected only) in Travel competition. Images from events or activities arranged specifically for photography, or of subjects • You can submit up to 2 projected images directed or hired for photography are not permitted. -
'Cyanotype and Anthotype: Eco-Patterning with Mineral and Natural Dyes.' Proceedings: International Textile & Costume Congress
Cyanotype and Anthotype: Eco- patterning with mineral and natural dyes Item Type Article Authors Wells, Kate Citation Wells, K. (2015) 'Cyanotype and Anthotype: Eco-patterning with mineral and natural dyes.' Proceedings: International Textile & Costume Congress. 2015. Between Worlds: Innovation and Design in Textiles and Costume. Marmara University, Istanbul: 145 Publisher International Textile and Clothing Congress ITCC Journal Proceedings of the 3rd International Textiles & Costume Congress - ITCC 2015 Download date 28/09/2021 17:18:38 Link to Item http://hdl.handle.net/10545/601182 ‘CYANOTYPE AND ANTHOTYPE: ECO - PATTERNING WITH MINERAL AND NATURAL DYES.’ Wells Kate University of Derby College of Arts Markeaton Street Campus Derby DE22 3AW Abstract: The paper outlines collaborative research between two different disciplines: That of textile design and early colouration methods with historical photographic imaging techniques. The project considers the symbiotic relationship between natural plant extracts with ‘Anthotypes’ and raised colours specifically ‘Prussian Blue’ with ‘Cyanotypes’. The aim of which, is to consider the question: Could this kind of photographic image making be applied as a future, sustainable method of design generation, colouration and patterning of fabric for fashion and interiors? Looking at the substantive and the fugitive properties of the colouration materials along side different light wavelengths and analysing the success or failure of using Anthotypes and Cyanotype as an alternative sustainable surface design process can be attained: A form of Eco-patterning that relies upon light and natural substances/dyes not synthetic dyes as the colouring medium. 1. Introduction This paper discusses a research project, which considered the correlation between Natural and Mineral dyes with early 19th Century photographic processes ‘Cyanotypes’ and ‘Anthotypes’ as a form of eco-patterning that relies upon light and natural subsantnces as the colouring medium. -
Press Information
Press Information photokina 2018: Visitors to the Leica Camera stand in Hall 2.2 can look forward to a discovering a comprehensive portfolio of products and services Wetzlar, 6 September 2018. The focus of Leica’s appearance at photokina 2018 in Cologne is not only set on the extremely diverse product portfolio of the traditional manufacturer from Wetzlar, but also on the Leitz Park itself. At Leica, everything has always revolved around the picture, the school of visualisation, the history of photography, the vibrancy of photographic culture and the people behind the cameras – in other words, DAS WESENTLICHE. Since the opening of the Leitz Park complex on 15 June 2018, all this is now a visible and tangible experience. In the open-plan, newly conceived Leica stand in Hall 2.2, visitors can find information and comprehensive advice about the broad spectrum of Leica products and services for all photographic applications and scenarios. The demonstration area has now been split into thematic areas to provide easier orientation for professionals, amateurs and other visitors interested in particular Leica products or services. While the ‘Professional’ area concentrates on the Leica S and its lenses and products from Sinar Photography, the ‘Systems’ area focuses on the Leica SL, the Leica M and the APS-C cameras of the Leica CL and Leica TL systems – and, of course, the full range of corresponding Leica precision lenses. The ‘Compact’ area is dedicated to the Leica Q, Leica D-Lux, Leica V-Lux, Leica X-U and Leica C-Lux cameras and the Leica Sofort instant picture camera. -
Press Information
Press information Free for release after: 28 April 2016, 3 p.m. (CET) LEICA M-D – the new digital Leica rangefinder without a monitor screen Wetzlar, 28 April 2016. With the Leica M-D (Typ 262), Leica Camera AG adds a further model to the Leica rangefinder system. Together with the Leica M and M-P (Typ 240), the Leica M (Typ 262) and the Leica M Monochrome (Typ 246), this increases the number of digital M-Generation cameras to five. The Leica M-D is the first serial production model of the digital M family to be made without a monitor screen. The usual location of the screen on the back of the camera is now taken by the ISO sensitivity setting dial – one of the few, but essential, features of the camera. Although the Leica M-D embodies the entire range of technical advantages perfected over decades in the Leica rangefinder system, it intentionally omits all but the most essential technical features. Radically reduced to the most important parameters required for photography – shutter speed, aperture, distance and ISO sensitivity – it promotes its users’ concentration on what is essential: the picture. To a large extent, the technical features of the Leica M-D are based on those of the Leica M (Typ 262). Just like all other digital M-Cameras, the Leica M-D (Typ 262) features a high- resolution CMOS full-frame sensor, albeit one that is dedicated exclusively to rangefinder photography, and supports neither video recording nor Live View. Its 24-megapixel resolution ensures exceptional imaging quality and extreme sensitivity to light. -
Leica Cl Quick Start Guide
LEICA CL QUICK START GUIDE The comprehensive instructions are available at: https://en.leica-camera.com/Service-Support/Support/Downloads If you wish to receive a printed copy of the comprehensive instructions, please register at: www.order-instructions.leica-camera.com 6 7 3 1 13 14 12 5 10 9 11 8 1 4 2 20 19 21 18 25 17 16 15 22 23 24 26a 26 27 30 28 29 1 Strap lugs 10/13 Setting wheels – in the menu: 10 scrolls within the menu lists – in review mode: 10 enlarges/reduces the recording and 13 browses – in recording mode: see table 2 Lens release button 11/14 Setting wheel buttons – in recording mode: 3 Self-timer LED / AF assist lamp 11 calls up the right setting wheel’s secondary function or the FN menu and 4 Leica L-Bayonet 14 calls up the exposure mode – in review mode: 11 enlarges/reduces a recording and B 14 marks a recording B 12 Top display A Indicates the exposure mode, aperture, A shutter speed, in certain cases the set ISO and exposure compensation values 5 Contact strip 15 Speaker 6 Microphones Sound is recorded in stereo 16 MENU Button 7 Accessory shoe 17 FN Button Recommended fl ash units: Direct access to menu funktions Leica system fl ash units SF 40, SF 64, and – in recording mode: SF 58 Direct access to assignable menu item list 8 Main switch – in recording and playback modes: Turning the camera on and off Direct delete function 9 Shutter button 18 PLAY Button Pressing to the fi rst pressure point acti- Switching between picture and review mode vates: – autofocusing 19 Viewfi nder – exposure metering and control Resolution: 1024 x 768 pixels (2.36 MP) Pressing all the way down: takes a picture/ Magnifi cation 0.74x starts/stops video recording In standby mode: 20 Eye sensor The camera is reactivated Automatic switching between viewfi nder and monitor 21 Dioptre setting wheel Setting range from -4 to +4 dioptr. -
Hugostudio List of Available Camera Covers
Exakta VX 1000 W/ P4 Finder Hugostudio List of Exakta VX 500 W/ H3.3 Finder Available Camera Covers Exakta VX IIa V1-V4 W/ P2.2 Finder Exakta VX IIa V5-V7-V8 _P3.3 Finder (1960) Exakta VX IIa V6 W/ H3 SLR Exakta VX IIb W/ P3 Asahiflex IIb Exakta VX IIb W/ P4 Finder Canon A-1 Exakta Varex VX V1 - V2 Canon AE-1 Exakta-Varex VX IIa V1-V4 Canon AE-1 Program Exakta Varex VX V4 V5 Canon AV-1 Exakta Varex VX W/ Finder P1 Canon EF Fujica AX-3 Canon EX Auto Fujica AZ-1 Canon F-1 Pic Req* Fujica ST 601 Canon F-1n (New) pic Req* Fujica ST 701 Canon FT QL Fujica ST 801 Canon FTb QL Fujica ST 901 Canon FTb n QL Kodak Reflex III Canon Power Winder A Kodak Reflex IV Canon TL-QL Kodak REflex S Canon TX Konica FT-1 Canonflex Konica Autoreflex T3 Chinon Memotron Konica Autoreflex T4 Contax 137 MA Konica Autoreflex TC Contax 137 MD Leica R3 Contax 139 Quartz Leica R4 Contax Motor Drive W6 Leica Motor Winder R4 Contax RTS Leicaflex SL Contax RTS II Mamiya ZE-2 Quartz Contax139 Quartz Winder Minolta Auto Winder D Edixa Reflex D Minolta Auto Winder G Exa 500 Minolta Motor Drive 1 Exa I, Ia, Ib Minolta SR 7 Exa II Minolta SRT 100 Exa IIa Minolta SRT 101 Exa Type 6 Minolta SRT 202 Exa VX 200 Minolta X370 Exa Version 2 to 5 Minolta X370s Exa Version 6 Minolta X570 Exa Version I Minolta X700 Exakta 500 Minolta XD 11, XD 5, XD 7, XD Exakta Finder H3 Minolta XE-7 XE-5 Exakta Finder: prism P2 Minolta XG-1 Exakta Finder: prism P3 Minolta XG 9 Exakta Finder: prism P4 Minolta XG-M Exakta Kine Minolta XG7, XG-E Exakta Meter Finder Minolta XM Exakta RTL1000 Miranda AII -
I Am Your Nikon 1 Finder I Am the Speed of Life
I AM YOUR NIKON 1 FINDER I AM THE SPEED OF LIFE The ever-expanding lineup of portable Nikon 1 system cameras is a whole new way to capture the speed of life. Small, fast, and powerful, these swift interchangeable lens cameras keep you ahead of the action. Offering extraordinarily high-speed performance, impressive image quality, innovative features, and hassle-free operation, a Nikon 1 camera embodies the perfect balance of power, precision, and portability to deliver images you could never have imagined. Experience the magic of speed, and the thrill of the unexpected, as you snap photos of the wonders hidden within a moment. Go cinematic and relive your best adventures with smooth HD movies. Add some artistry to images with innovative creative modes. Dedicated 1 NIKKOR optics make it simple to change lenses and swap perspectives as you capture your world as never before. Nikon 1 system accessories extend your shooting opportunities beautifully, and the optional FT1 Mount Adapter allows you to use NIKKOR D-SLR lenses, making the Nikon 1 system as flexible as it is fast. CAMERAS SELECT YOUR CATEGORY EVERYDAY PERFORMANCE ADVENTURE Step up on image quality and trust your memories to Take top-speed professional control with a Life doesn’t have a replay button. You need a camera a camera that delivers. Fast, compact, and irresistibly Nikon 1 Performance camera. With their lightning-fast that can keep up. Waterproof, shockproof, and freeze- good-looking, Nikon 1 Everyday Cameras make it performance, advanced feature sets, and the superb proof, a Nikon 1 Adventure system camera can catch amazingly easy to catch the perfect shot. -
High ISO Heroes Which APS-C and Full-Frame Cameras Perform the Best in Poor Light?
Saturday 4 February 2017 High ISO heroes Which APS-C and full-frame cameras perform the best in poor light? All-new Passionate about photography since 1884 BUYING GUIDE COMPLETE GUIDE 550 cameras & lenses listed ISO & rated and How to get pictures as good as this at high ISO Get great low light images and keep noise right down ● What ISO and when ● Best noise removers ● Settings of the pros Digital ISO demystified Fujifilm Where noise comes from first look and how it relates to X-T20 mirrorless & sensor size & resolution X100F compact The high ISO king? We see how Nikon’s D5 copes with ice-hockey boot camp Ice on the black sand beach at Jökulsárlón.raw ON THE ICE BEACH IT’S A DARK, SOMBRE WINTER’S DAY. The grey cloud is low, and the rain is steady, but the muted light is just perfect for the subject matter all around me, namely waves lapping around the artfully sculpted blocks of ice on the black sand. Now I’ve seen many images of this unique combination before – it’s an Icelandic photographic staple – but there’s no resisting the appeal of such stark, elemental beauty. In fact it’s a beauty that is enhanced by the flat lighting, a cold scene of black and blue with simple graphic appeal. But as so often is the case here in Iceland the conditions are difficult: apart from the rain, salty spray is being driven inshore off the waves and onto my increasingly crusty camera, lens and filter. So be it, such adversity is now familiar.