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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. -
Basic View Camera
PROFICIENCY REQUIRED Operating Guide for MEDIA LOAN CALUMET 4X5 VIEW CAMERA Media Loan Operating Guides are available online at www.evergreen.edu/medialoan/ View cameras are usually tripod mounted and lend When checking out a 4x5 camera from Media Loan, themselves to a more contemplative style than the more patrons will need to obtain a tripod, a light meter, one portable 35mm and 2 1/4 formats. The Calumet 4x5 or both types of film holders, and a changing bag for Standard model view camera is a lightweight, portable sheet film loading. Each sheet holder can be loaded tool that produces superior, fine grained images because with two sheets of film, a process that must be done in of its large format and ability to adjust for a minimum of total darkness. The Polaroid holders can only be loaded image distortion. with one sheet of film at a time, but each sheet is light Media Loan's 4x5 cameras come equipped with a 150mm protected. lens which is a slightly wider angle than normal. It allows for a 44 degree angle of view, while the normal 165mm lens allows for a 40 degree angle of view. Although the controls on each of Media Loan's 4x5 lens may vary in terms of placement and style, the functions remain the same. Some of the lenses have an additional setting for strobe flash or flashbulb use. On these lenses, use the X setting for use with a strobe flash (It’s crucial for the setting to remain on X while using the studio) and the M setting for use with a flashbulb (Media Loan does not support flashbulbs). -
Media in Instruction and Management Manual. INSTITUTION Central Michigan Univ., Mount Pleasant
DOCUMENT RESUME ED 126 916 95 IR 003 831 AUTHOR Bergeson, John B. TITLE Media in Instruction and Management Manual. INSTITUTION Central Michigan Univ., Mount Pleasant. Inst. for Personal and Career Development. SPONS AGENCY Office of Education (DHEW), Washington, D.C. REPORT NO USOE-P-04-074578 PUB DATE 76 NOTE 292p. EDRS PRICE MF-$0.83 HC-$15.39 Plus Postage. DESCRIPTORS *Audio Equipment; Equipment Utilization; *Instructional Media; Manuals; *Media Selection; Media Specialists; *Projection Equipment; Secondary Education ABSTRACT This manual is designed to assist students ina course on media in instruction and management. Unitsare included on: (1) still picture projection;(2) audio media; (3) motion picture projection;(4) print media, duplication, and displays; (5)selection of appropriate instructional materials; and (6)selecting appropriate media. Each unit includes an introduction,pre- and post-tests, behavioral objectives, an instructional monograph,and instructional activities. (EMH) *********************************************************************** * Documents acquired by ERIC include many informal unpublished * *,laterials not available from othersources. ERIC makes every effort* *to obtain the best copy available. Nevertheless, items ofmarginal * * reproducibility are often encountered and thisaffects the quality * * of the microfiche and hardcopy reproductionsERIC makes available * *via the ERIC Document Reproduction Service (EDRS).EDRS is not * *responsible for the quality of the original document.Reproductions* * supplied -
Calumet's Digital Guide to View Camera Movements
Calumet’sCalumet’s DigitalDigital GuideGuide ToTo ViewView CameraCamera MovementsMovements Copyright 2002 by Calumet Photographic Duplication is prohibited under law Calumet Photographic Chicago IL. Copies may be obtained by contacting Richard Newman @ [email protected] What you can expect to find inside 9 Types of view cameras 9 Necessary accessories 9 An overview of view camera lens requirements 9 Basic view camera movements 9 The Scheimpflug Rule 9 View camera movements demonstrated 9 Creative options There are two Basic types of View Cameras • Standard “Rail” type view camera advantages: 9 Maximum flexibility for final image control 9 Largest selection of accessories • Field or press camera advantages: 9 Portability while maintaining final image control 9 Weight Useful and necessary Accessories 9 An off camera meter, either an ambient or spot meter. 9 A loupe to focus the image on the ground glass. 9 A cable release to activate the shutter on the lens. 9 Film holders for traditional 4x5 film holder image capture. 9 A Polaroid back for traditional test exposures, to check focus or final art. VIEW CAMERA LENSES ARE DIVIDED INTO THREE GROUPS, WIDE ANGLE, NORMAL AND TELEPHOTO WIDE ANGLES LENSES WOULD BE FROM 38MM-120MM FOCAL LENGTHS FROM 135-240 WOULD BE CONSIDERED NORMAL TELEPHOTOS COULD RANGE FROM 270MM-720MM FOR PRACTICAL PURPOSES THE FOCAL LENGTHS DISCUSSED ARE FOR 4X5” FORMAT Image circle- The black lines are the lens with no tilt and the red lines show the change in lens coverage with the lens tilted. If you look at the film plane, you can see that the tilted lens does not cover the film plane, the image circle of the lens is too small with a tilt applied to the camera. -
Features of Mamiya RB 67
INSTRUCTIONS Congratulations on your pur chase of a Mamiya RB67 camera. Reading this manual carefully before· hand will ensure correct camera opera· tion and eliminate any possibility of malfunction. The Mamiya RB67 camera is part of a 'unique camera system, developed by the Mamiya Camera Company, the re· cognized world leader in large format photography. It takes its place alongside the famous Mamiya C Professional and the Mamiya Press cameras. The versatility of the Mamiya RB67, embodying fine performance and various capabilities, results in a large format camera that meets and satisfies all the requirements of the advanced amateur as weil as the professional photographer. Its interlocking use of many Mamiya Press camera accessories further widens its range of photographic application. • Special Pointers in Using the Mamiya RB 67 Under any of the following conditions the cameras safety interlock mechanism will engage. This may seem to be a ca me ra malfunction. A few of these conditions are listed below. The page in the instruction manual covering these situations is indicated in parenthesis. Condition: Shutter release button will not release. 1. When the mirror is up: Press the shutter cocking lever (pg. 12). 2 . When the dark slide is not pulled out: Pull out the dark slide (pg. 18). 3 . When the shutter release button is locked: Turn the shutter release lock ring counterclockwise (pg. 12). 4 . When the revolving adapter is not turned fully to the click stop position: Turn the revolving adapter a full 90° until it clicks and stops (pg. 14). 5 . When the slide lock is stopped halfway:. -
SHOOTING the BIG BERTHA by Geoffrey Berliner
SHARING INFORMATION ABOUT GRAFLEX AND THEIR CAMERAS ISSUE 2, 2016 FEATURES This was not a problem, because I had the needed shut- ter speed to shoot wide open. Shooting the Big Bertha by Geoffrey Berliner……………………….……..………1 Mine Is Bigger Than Yours by Ken Metcalf……...………………………...……...2 This April I had the wonderful experience shooting the From Chicago to Rochester via Delaware the Cee-ay by Michael Parker..…...6 Big Bertha on opening day at Yankee Stadium. There Graflex R.B. Series D User-Friendly Modifications by Randy Sweatt……...…...8 was a learning curve using the camera, but my many LE-2(2) by Jim Chasse……………………………………………………………...11 years of experience using Graflex SLR cameras and my experience shooting large format certainly helped in making the shoot a success. Here are some quotes from the opening day program: “Using mid-20th century cam- eras, Yankees Magazine captures opening day in a whole SHOOTING THE BIG BERTHA new light. On Opening Day this season, we decide to meld the past and the present. Thanks to a loan from the By Geoffrey Berliner Penumbra Foundation, Yankee Magazine photographers [and I] captured the scene at Yankee Stadium on April 5 using the same type of Graflex cameras that Joe Di- Mr. Berliner is the Executive Director of New York City's Maggio and Mickey Mantle once posed for.” Penumbra Foundation www.penumbrafoundation.org, an- tique camera lens collector (with over 1,500 lenses), GHQ contributor and Graflex camera collector. The Penumbra Foundation is a non-profit organization that brings together the art and science of photography through education, re- search, outreach, public and residency programs. -
Big Bertha/Baby Bertha
Big Bertha /Baby Bertha by Daniel W. Fromm Contents 1 Big Bertha As She Was Spoke 1 2 Dreaming of a Baby Bertha 5 3 Baby Bertha conceived 8 4 Baby Bertha’s gestation 8 5 Baby cuts her teeth - solve one problem, find another – and final catastrophe 17 6 Building Baby Bertha around a 2x3 Cambo SC reconsidered 23 7 Mistakes/good decisions 23 8 What was rescued from the wreckage: 24 1 Big Bertha As She Was Spoke American sports photographers used to shoot sporting events, e.g., baseball games, with specially made fixed lens Single Lens Reflex (SLR) cameras. These were made by fitting a Graflex SLR with a long lens - 20" to 60" - and a suitable focusing mechanism. They shot 4x5 or 5x7, were quite heavy. One such camera made by Graflex is figured in the first edition of Graphic Graflex Photography. Another, used by the Fort Worth, Texas, Star-Telegram, can be seen at http://www.lurvely.com/photo/6176270759/FWST_Big_Bertha_Graflex/ and http://www.flickr.com/photos/21211119@N03/6176270759 Long lens SLRs that incorporate a Graflex are often called "Big Berthas" but the name isn’t applied consistently. For example, there’s a 4x5 Bertha in the George Eastman House collection (http://geh.org/fm/mees/htmlsrc/mG736700011_ful.html) identified as a "Little Bertha." "Big Bertha" has also been applied to regular production Graflexes, e.g., a 5x7 Press Graflex (http://www.mcmahanphoto.com/lc380.html ) and a 4x5 Graflex that I can’t identify (http://www.avlispub.com/garage/apollo_1_launch.htm). These cameras lack the usual Bertha attributes of long lens, usually but not always a telephoto, and rapid focusing. -
THE GRAPHIC 35 ELECTRIC by Michael Parker
SHARING INFORMATION ABOUT GRAFLEX AND THEIR CAMERAS ISSUE 3, 2017 FEATURES The Graphic 35 Electric by Michael Parker……………………………………………………...1 The Press Graflex by Jim Chasse……………………………….……………………………….5 Book Review, Images of America, Oak Ridge…………………………………………………..9 Graflex Identification Cameras by Ken Metcalf………………………………………………...10 Graflex Ads by George Dunbar………………….……………………………….…..…..…...…11 John Adams Letter to Tim Holden, June 1, 1983…………………………………...………….12 THE GRAPHIC 35 ELECTRIC By Michael Parker The Graphic 35 Electric was a game changer. It was the first 35mm camera with electric film advance; it used a leaf shutter synchronised for electronic flash at all speeds up to 1/500 sec; the lens was inter- changeable by bayonet with a variety of quality German lenses from 35mm to 135mm, and to top it all the camera viewfinder with parallax correction, showed the wide base rangefinder-coupled to all lenses, bright line frames for different focal lengths and the pointer for the built -in exposure meter. Figure 1 In 1959 no other camera could beat it on specifications. The Voigtlander Prominent II came close but had manual lever film wind and no expo- sure meter. The best available Leica models (IIIg and M3) had manual lever wind, no exposure meter and a focal plane shutter that would syn- chronise with electronic flash at only 1/50 sec and below. Figure 1: The Graflex Graphic 35 Electric with Iloca- The Graphic 35 Electric is an Iloca Quinon 50mm f/1.9 lens. Electric in all but name and was made in Hamburg, Germany, by Iloca Kamera-Werk owned by Wilhelm Witt. Figure 2 The differences are the engraved name ‘Graphic 35 Electric’ on the top plate, the name repeated next to the rangefinder window, a small round Graflex logo on the camera front below the viewfinder window and the addition of strap lugs. -
Rental List V
Rental List V. 2018.1 February 1, 2018 Leo's Camera Supply -- Rental List Page 1 of 16 Terms and Conditions of Leo's Camera Supply Rentals Availability: Product availability is not guaranteed. To help ensure availability, please book your rental as far in advance as possible (maximum 4 weeks ahead). To aid the staff of Leo's & the renting public, please inform us ASAP of any change in your bookings. This allows us to re-circulate the equipment. Overdue rentals are subject to full daily charge (see late & overdue Rentals). Please call the store to make a booking. We can not guarantee bookings made via email! If a RENTER has a two "NO-SHOW" rental bookings, rental reservation privileges will be suspended. Deposits & Payment: All rentals are prepaid in full at time of pickup. (Visa, M/C, Debit or Cash) Rental Deposits can be made by Visa, M/C, Bank Draft or cash (if paid via credit card, card holder must be present at the time of deposit). (Debit not accepted.) Valid Picture ID is required for all rentals. If the renter is from within B.C. (Picture ID with current local address, i.e., B.C. Drivers License or BCID is acceptable) then a lower deposit applies. (Passport will only accept as proof of ID with recent Government issue letters with local address). If renter is from out of province (out of country) Leo's will request a deposit based on the full replacement value of the equipment to be rented! (see below for additional information.) Leo's Cameras may request a deposit equal to the replacement value of said equipment at their discretion unless prior arrangements have been made. -
Mamiya RB67 Camera! Features
CONTENTS Congratulations on your wise decision Specifications............................................................................. 1 to purchase this Mamiya RB67 Camera! Features...................................................................................... 2 Names of Parts and Outline of Operating Method............ 6 OperatingInstructions............................................................. 11 Perusing this manual before attempting to Attachingandremovingthelens....................................... 12 use the RB67 will assist in correct camera Shuttercocking/Shutterreleasebutton.......................... 13 operation and will minimize the possibility Operatingthefocusinghood.............................................. 14 of malfunctions. Horizontal and vertical picture format The Mamiya RB67 is one member of a selectiveoperation............................................................... 15 unique “camera family” developed by the Attaching and detaching the roll film holder................... 16 Mamiya Camera Company, a recognized Loadingandadvancingtherollfilm.................................. 18 world leader in large-format photography. Multipleexposurephotography......................................... 21 The RB67 takes its place alongside the Setting the shutter speed and the aperture/Time famous Mamiya C Professional and the operation................................................................................. 22 Mamiya Press Cameras. Focusing knob fixing operation/ Distance scale........... -
Canon Cine Projector S 2 Manual
Canon Cine Projector S 2 Manual Manuals and user guide free PDF downloads for Canon LV-S2. Where Can I Get A Repair/parts Manual For A Canon S-400 Cine Projector? Is The Mx340. In addition to its sensor and processors, the EOS C300 Mark II camera also of more than 100 Canon EF and EF-S photographic lenses (including specialty tilt-shift and and zoom lenses (including the "ENG-style" Canon CINE-SERVO zooms). further facilitate operation and creative freedom include full manual control. Canon Cine Projector S-2 Manual -How to bypass hotel tv - How to i get an older zenith tv model, Plustek 600dpi Usb Scanner Driver Download. Canon Japan announced the Mini Projector C-5 in Japan, a pocket-sized mobile projector. Fixation, Focus Manual, Light source LED light source (life guideline 10,000 hours) Canon EF 35mm f/1.4L II and EF-M 15-45mm IS STM Co. lens rebates (5), Canon CES 2015 (2), Canon CINE-SERVO 50-1000mm lens (1). View and Download Canon P 400 instructions manual online. Cine projector. P 400 Projector pdf Projector Canon LV-S2 Owner's Manual. Canon lv- s2: user. Canon's video projectors deliver the sharpest images for the doctors in the Using Canon's XEED SX80 Mark II Medical video projectors, it has moderni. Canon Cine Projector S 2 Manual Read/Download Download drivers, software, firmware and manuals for your Canon product and get access to online technical support resources and troubleshooting. Canon's video projectors deliver the sharpest images for the doctors in the Using Canon's XEED SX80 Mark II Medical video projectors, it has moderni. -
Fading Out: the End of 35 Mm Slide Transparencies Tina
Presented at the Electronic Media Group Session, AIC 40th Annual Meeting, May 8–11, 2012, Albuquerque, NM. FADING OUT: THE END OF 35 MM SLIDE TRANSPARENCIES TINA WEIDNER ABSTRACT This paper refects on the challenges facing conservators dealing with the preserva- tion and display of slide-based works in fne art collections following the discon- tinuation of the last remaining slide duplicating stock, Kodak Edupe, in March 2010, and the imminent demise of this analog technology. This paper explores the strategies currently available to conservators and the rapidly decreasing timeframe in which action will need to be taken. INTRODUCTION There are moments in the history of conservation when objects are radically al- tered in order to preserve what was most valued at that time. For example painted surfaces from panel paintings have in the past been stripped from their wooden support and re-adhered to canvas. The arguments justifying these decisions un- doubtedly appeared compelling at the time, only to become highly controversial centuries later. The Electronic Media Review ■ Volume Two 2013 157 TINA WEIDNER Within time-based media conservation, we are faced THE 35 MM SLIDE MEDIUM with a radical shift in technology as commercial support “Slide” commonly refers to a 35 mm photographic posi- for 35 mm slides ceases. In this paper I explore how, tive image comprising chromogenic dyes on a transpar- as conservators, we might respond to, and plan for, this ent base held inside a plastic or card mount. Without signifcant change in the technology underpinning slide- this mount, the transparent flm material would not be based artworks in our collections.