Secrets of Great Portrait Photography Photographs of the Famous and Infamous
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The Best of Wedding Photography, 3Rd Edition
The Best of WEDDING PHOTOGRAPHY Third Edition Amherst Media® PUBLISHER OF PHOTOGRAPHY BOOKS BILL HURTER ABOUT THE AUTHOR Bill Hurter started out in photography in 1972 in Washington, DC, where he was a news photographer. He even cov- ered the political scene—including the Watergate hearings. After graduating with a BA in literature from American Uni- versity in 1972, he completed training at the Brooks Institute of Photography in 1975. Going on to work at Petersen’s PhotoGraphic magazine, he held practically every job except art director. He has been the owner of his own creative agency, shot stock, and worked assignments (including a year or so with the L.A. Dodgers). He has been directly in- volved in photography for the last thirty years and has seen the revolution in technology. In 1988, Bill was awarded an honorary Masters of Science degree from the Brooks Institute. He has written more than a dozen instructional books for professional photographers and is currently the editor of Rangefinder magazine. Copyright © 2007 by Bill Hurter. All rights reserved. Front cover photograph by Tibor Imley. Back cover photography by Dennis Orchard. Published by: Amherst Media, Inc. P.O. Box 586 Buffalo, N.Y. 14226 Fax: 716-874-4508 www.AmherstMedia.com Publisher: Craig Alesse Senior Editor/Production Manager: Michelle Perkins Assistant Editor: Barbara A. Lynch-Johnt ISBN-13: 978-1-58428-208-2 Library of Congress Control Number: 2006937281 Printed in Korea. 10 9 8 7 6 5 4 3 2 1 No part of this publication may be reproduced, stored, or transmitted in any form or by any means, electronic, mechanical, photocopied, recorded or otherwise, without prior written consent from the publisher. -
Portraiture, Surveillance, and the Continuity Aesthetic of Blur
Michigan Technological University Digital Commons @ Michigan Tech Michigan Tech Publications 6-22-2021 Portraiture, Surveillance, and the Continuity Aesthetic of Blur Stefka Hristova Michigan Technological University, [email protected] Follow this and additional works at: https://digitalcommons.mtu.edu/michigantech-p Part of the Arts and Humanities Commons Recommended Citation Hristova, S. (2021). Portraiture, Surveillance, and the Continuity Aesthetic of Blur. Frames Cinema Journal, 18, 59-98. http://doi.org/10.15664/fcj.v18i1.2249 Retrieved from: https://digitalcommons.mtu.edu/michigantech-p/15062 Follow this and additional works at: https://digitalcommons.mtu.edu/michigantech-p Part of the Arts and Humanities Commons Portraiture, Surveillance, and the Continuity Aesthetic of Blur Stefka Hristova DOI:10.15664/fcj.v18i1.2249 Frames Cinema Journal ISSN 2053–8812 Issue 18 (Jun 2021) http://www.framescinemajournal.com Frames Cinema Journal, Issue 18 (June 2021) Portraiture, Surveillance, and the Continuity Aesthetic of Blur Stefka Hristova Introduction With the increasing transformation of photography away from a camera-based analogue image-making process into a computerised set of procedures, the ontology of the photographic image has been challenged. Portraits in particular have become reconfigured into what Mark B. Hansen has called “digital facial images” and Mitra Azar has subsequently reworked into “algorithmic facial images.” 1 This transition has amplified the role of portraiture as a representational device, as a node in a network -
Matching Forensic Sketches to Mug Shot Photos З
IEEE TRANSACTIONS ON PATTERN ANALYSIS AND MACHINE INTELLIGENCE, VOL. 33, NO. 3, MARCH 2011 639 Matching Forensic Sketches or the person himself. Forensic sketches are drawn by interviewing a to Mug Shot Photos witness to gain a description of the suspect. Published research on sketch to photo matching to this point has primarily focused on matching viewed sketches [1], [2], [3], [4], [5], despite the fact that Brendan F. Klare, Student Member, IEEE, real-world scenarios only involve forensic sketches. Both forensic Zhifeng Li, Member, IEEE,and sketches and viewed sketches pose challenges to face recognition Anil K. Jain, Fellow, IEEE due to the fact that probe sketch images contain different textures compared to the gallery photographs they are being matched against. However, forensic sketches pose additional challenges due Abstract—The problem of matching a forensic sketch to a gallery of mug shot images is addressed in this paper. Previous research in sketch matching only to the inability of a witness to exactly remember the appearance of offered solutions to matching highly accurate sketches that were drawn while a suspect and her subjective account of the description, which looking at the subject (viewed sketches). Forensic sketches differ from viewed often results in inaccurate and incomplete forensic sketches. sketches in that they are drawn by a police sketch artist using the description of the We highlight two key difficulties in matching forensic sketches: subject provided by an eyewitness. To identify forensic sketches, we present a 1) matching across image modalities and 2) performing face framework called local feature-based discriminant analysis (LFDA). -
User's Guide for PRIMOS Mug Shot Trail Camera
User’s Guide for PRIMOS Mug Shot Trail Camera Model# 65063 Thanks for purChasing this Primos Mug Shot Trail Camera. Please read this user’s guide Carefully before your first use. ProduCt overview Fig.1 Lens AIM/Status LED LCD Display UP Working mode switch SD CARD SLOT OK button ON/SETUP/OFF Down USB Battery Tray Eject PIR Sensor DC Port Battery compartment Fig.2 Product SpeCifiCations: Model Number 65063 Image Resolution - Photo Mode 12MP (2MP base sensor) Image interval Fixed 5 seconds Lens Angular Field Of View 38 degrees (+/- 2 degrees) Video 720p (1080x720) Trigger speed 1 second PIR Sensor Yes, auto sensitivity PIR distance 60 feet IR Flash 24pcs 850nm LEDs, 70 feet flash range Video interval Fixed 5 seconds Video Clip Time 10 seconds ea. Screen display Backlit display (TN) 34*16mm; SD Card Up to 32GB SD card Battery life Up to 9 months with 6 AA batteries Working temp -10℃–60℃ Storage temp -20℃-80℃ Waterproof rate IP 54 Loading Batteries: Press the Battery Tray EJECT button to release the battery tray and pull it out for loading. Switch the camera’s power OFF when loading / unloading batteries. Be sure to insert each battery so it’s polarity (+/- direction) matches the polarity indications at the bottom of the battery tray. A full set of 6 AA Alkaline batteries should be used. Note: ² NiMH Rechargeable batteries can also be used but are NOT recommended, because they might have a shorter life span due to their reduced efficiency over time and at low temperatures. ² 6 NEW batteries are recommended because mixed old and new batteries may result in shorter working time. -
No. 14-1670 in the UNITED STATES COURT of APPEALS for the Sixth Circuit DETROIT FREE PRESS, INC, Plaintiff-Appellee, V. UNITED S
No. 14-1670 In The UNITED STATES COURT OF APPEALS For the Sixth Circuit DETROIT FREE PRESS, INC, Plaintiff-Appellee, v. UNITED STATES DEPARTMENT OF JUSTICE, Defendant-Appellant. Appeal from the United States District Court for the Eastern District of Michigan BRIEF OF AMICI CURIAE THE REPORTERS COMMITTEE FOR FREEDOM OF THE PRESS AND 36 MEDIA ORGANIZATIONS IN SUPPORT OF APPELLEE SEEKING AFFIRMATION Bruce D. Brown Counsel of Record Katie Townsend Adam A. Marshall The Reporters Committee for Freedom of the Press 1156 15th St. NW, Suite 1250 Washington, D.C. 20005 Tel: (202) 795-9300 [email protected] All amici listed on the next page. LIST OF AMICI CURIAE 1. American Society of News Editors 2. The Associated Press 3. Association of Alternative Newsmedia 4. The Association of American Publishers, Inc. 5. Bloomberg L.P. 6. Cable News Network, Inc. 7. California Newspaper Publishers Association 8. Cox Media Group, Inc. 9. Dow Jones & Company, Inc. 10. The E.W. Scripps Company 11. First Amendment Coalition 12. First Look Media 13. Forbes Media LLC 14. Hearst Corporation 15. The McClatchy Company 16. MediaNews Group, Inc. 17. National Newspaper Association 18. The National Press Club 19. National Press Photographers Association 20. National Public Radio, Inc. 21. New England First Amendment Coalition 22. New England Newspaper and Press Association, Inc. 23. New England Society of Newspaper Editors 24. The New York Times Company 25. News Corp 26. Newspaper Association of America 27. North Jersey Media Group Inc. 28. Online News Association 29. Radio Television Digital News Association 30. The Reporters Committee for Freedom of the Press 31. -
Mastering the Mug Shot
Journalism Studies ISSN: 1461-670X (Print) 1469-9699 (Online) Journal homepage: https://www.tandfonline.com/loi/rjos20 Mastering the Mug Shot Mary Angela Bock, Pinar Istek, Paromita Pain & José Andrés Araiza To cite this article: Mary Angela Bock, Pinar Istek, Paromita Pain & José Andrés Araiza (2018) Mastering the Mug Shot, Journalism Studies, 19:3, 432-451, DOI: 10.1080/1461670X.2016.1191368 To link to this article: https://doi.org/10.1080/1461670X.2016.1191368 Published online: 09 Jun 2016. Submit your article to this journal Article views: 283 View related articles View Crossmark data Citing articles: 2 View citing articles Full Terms & Conditions of access and use can be found at https://www.tandfonline.com/action/journalInformation?journalCode=rjos20 MASTERING THE MUG SHOT Visual journalism and embodied gatekeeping Mary Angela Bock, Pinar Istek, Paromita Pain, and José Andrés Araiza This project uses a case study of an elected official’s booking mug shot to examine the way political actors engage in embodied performance to maintain their image in visual media. Mug shots are images that are ostensibly equalizing and represent a long-standing link between law enforcement, journalism and visual culture. Released through the “gates” of law enforcement, they are imbued with a connotation of guilt even though they are created prior to a person’s conviction. Using mixed methods, including textual analysis, field observations and interviews, this case study examined the way journalists covered the mugshot booking of former Texas Governor Rick Perry. The event was widely proclaimed a victory rather than a ritual of shame. The study suggests that the governor and his staff engaged in embodied gatekeeping by orchestrating the events leading up to his booking photo which impeded journalists in their effort to independently control their narratives. -
Photography Techniques Intermediate Skills
Photography Techniques Intermediate Skills PDF generated using the open source mwlib toolkit. See http://code.pediapress.com/ for more information. PDF generated at: Wed, 21 Aug 2013 16:20:56 UTC Contents Articles Bokeh 1 Macro photography 5 Fill flash 12 Light painting 12 Panning (camera) 15 Star trail 17 Time-lapse photography 19 Panoramic photography 27 Cross processing 33 Tilted plane focus 34 Harris shutter 37 References Article Sources and Contributors 38 Image Sources, Licenses and Contributors 39 Article Licenses License 41 Bokeh 1 Bokeh In photography, bokeh (Originally /ˈboʊkɛ/,[1] /ˈboʊkeɪ/ BOH-kay — [] also sometimes heard as /ˈboʊkə/ BOH-kə, Japanese: [boke]) is the blur,[2][3] or the aesthetic quality of the blur,[][4][5] in out-of-focus areas of an image. Bokeh has been defined as "the way the lens renders out-of-focus points of light".[6] However, differences in lens aberrations and aperture shape cause some lens designs to blur the image in a way that is pleasing to the eye, while others produce blurring that is unpleasant or distracting—"good" and "bad" bokeh, respectively.[2] Bokeh occurs for parts of the scene that lie outside the Coarse bokeh on a photo shot with an 85 mm lens and 70 mm entrance pupil diameter, which depth of field. Photographers sometimes deliberately use a shallow corresponds to f/1.2 focus technique to create images with prominent out-of-focus regions. Bokeh is often most visible around small background highlights, such as specular reflections and light sources, which is why it is often associated with such areas.[2] However, bokeh is not limited to highlights; blur occurs in all out-of-focus regions of the image. -
Bachelor of Graphic Arts (BGA) Commercial Photography
Bachelor of Graphic Arts (BGA) Commercial Photography The normal duration of the Bachelor of Graphic Arts (BGA) program in Commercial Photog- raphy is 11 semesters (44 months). Graduates of the program complete 135 credit hours and earn a Bachelor of Graphic Arts degree in Photography, preparing them for entry-level and advanced-level work in the photography field. EDUCATIONAL OBJECTIVES One of the strengths of the BGA in Commercial Course Number Course Title Credit Hours Photography degree is its strong and diverse GENERAL EDUCATION COURSES curriculum. This degree is designed for its graduates SPC101 SPEECH 3 to be prepared to move directly into a business PL103 PHILOSOPHY 4 SS104 SUCCESS STRATEGIES 4 environment. Graduates will have a competitive PS108 PSYCHOLOGY 4 advantage in the job market simply because they LIT211 LITERATURE 4 will be current with changing technologies and, in EN270 ENGLISH 4 addition to being solid professional photographers, MTH300 CONTEMPORARY MATH 3 ES300 EARTH SCIENCES: THE HUMAN ENVIRONMENT 3 will have a clear understanding of the commercial HWC301 HISTORY OF WESTERN CIVILIZATION 4 business environment. COURSES OF MAJOR Graduates of this bachelor-level degree will be fully PH101 INTRODUCTION TO PHOTOGRAPHY 3 PH102 NATURE PHOTOGRAPHY 3 qualified for either employment or for operating PH103 ADOBE LIGHTROOM 3 their own photography business. Graduates will DC102 DESIGN COMPOSITION 3 know how to light, shoot and do post-production SLT130 STUDIO LIGHTING TECHNIQUES 3 work in a wide variety of areas. These include such APSP140 ADOBE PHOTOSHOP FOR PHOTOGRAPHERS 3 DP104 DIGITAL PHOTOGRAPHY 3 areas as weddings, fashion, sports, architecture, LLT110 LOCATION LIGHTING TECHNIQUES 3 landscape, travel, portraits, special events, ADP240 ADVANCED DIGITAL PHOTOGRAPHY 3 concerts, and product photography. -
The Resurgence of Large-Format Photography
THE RESURGENCE OF LARGE-FORMAT PHOTOGRAPHY Shutter Release, September 2006 Rustic large-format cameras frequently feature as picturesque props in television commercials and men’s fashion magazines. The quaint imagery sustains a nostalgic view of large-format photography that has nevertheless improved of late. The borderline eccentrics trotting out creaky wooden cameras with cracked leather bellows now tend to be nattily dressed, and include women. Depicting large format as a relic may have reflected reality 15 or 20 years ago, following a half-century of decline. Happily, times have changed. Large format is on the rebound. The past decade has seen a remarkable resurgence of large-format photography. Improvements in technology, materials and film, together with the introduction of digital backs of up to 39MP resolution, have made the ponderous into an instrument of finesse. Sinar (Switzerland) Large-format cameras, commonly called view cameras, allow photographers great creative potential in composition, perspective and focus. The cameras remain large by virtue of the film area, and are entirely manual and slow to set up and operate, but such is the appeal of large-format photography to those who have the calling. In principle, each photograph is treated as if a portrait, to be carefully planned and executed. Large Format and What It Offers Literally defined by the size of the negative or transparency, large format is photography using single sheets of film, most commonly 4x5 inches. Larger models take film sheets of 5x7, 8x10 and even 20x24 inches. Imagine a contact print the size of a huge enlargement! One benefit of large format, though by no means the primary benefit, is the size of the film. -
Arresting Images: Mug Shots from the OPP Museum Page 2 of 20
Edward Baker, arrested in 1900 for Burglary 2000.28.409 Exhibition Manual Organized and circulated by The OPP Museum Table of Contents 1. Using this guide…………………………………………………………….3 2. Introduction………………………………………………………………….4 3. Exhibition Quick Facts……………………………………………………..5 4. Exhibition Layout……………………………………………..…………….6 5. Exhibition Installation ………………………………………………….......7-8 6. Curator’s Comments………………………………………………………..9 7. Contact Information………………………………………………..……….10 8. Catalogue Information……………………………………………………...11 9. Condition Report Section…………………………………………………..12-19 Arresting Images: Mug shots from The OPP Museum Page 2 of 20 1. Using this guide This guide has been created to help facilitate the host venue (borrowing institution) in the uncrating and installation of Arresting Images: Mug shots from The OPP Museum. Exhibition Quick Facts, guidelines for the installation and exhibition layout plus background information on the curatorial approach, along with a complete inventory list is provided to inform the installation team. The suggested layout offers a template for installation, however, adaptation may be necessary to accommodate your specific gallery space. By following this guide, working through each section, we hope that you will find that the set up of Arresting Images is simple and straightforward. Please note that: • “The exhibition shall be presented in its entirety, without additions, amalgamations or omissions unless The OPP Museum has given prior written consent” • “No artifacts or educational exhibit components may be added or deleted without the express written permission of The OPP Museum" If you have any further questions during installation, please do not hesitate to call The OPP Museum at (705) 329-6889. Thank you. Arresting Images: Mug shots from The OPP Museum Page 3 of 20 2. -
Photography Cheat Sheet Pocket Card Your Travel Reference
Photography Cheat Sheet Pocket Card Your travel reference Are you new to Photography? Is it too confusing to set up your camera? Automatic will sure do better than me, isn’t it? These are all interesting questions and that is why we have decided to draw a simple Photography Cheat Sheet Pocket Card. Now you have a foldable reference guide to keep in your bag in case you do not remember what the setting does. Print it, fold it and open it when you need Download it here with other free material that will help you during your travel and photography life Index Photography Cheat Sheet Pocket Card.......................................................2 Your travel reference ..................................................................................2 Understanding Exposure .........................................................................3 Aperture...................................................................................................4 Shutter Speed...........................................................................................5 ISO Setting ..............................................................................................6 The If World ...............................................................................................7 Shutter Speed and Aperture.....................................................................9 What about the other camera brands ........................................................10 Understanding Exposure If you leave your camera at standard setting you will see -
Clinical Photography Manual by Kris Chmielewski Introduction
Clinical Photography Manual by Kris Chmielewski Introduction Dental photography requires basic knowledge about general photographic rules, but also proper equipment and a digital workflow are important. In this manual you will find practical information about recommended equipment, settings, and accessories. For success with clinical photo documentation, consistency is the key. The shots and views presented here are intended as recommendations. While documenting cases, it is very important to compose the images in a consistent manner, so that the results or stages of the treatment can easily be compared. Don’t stop documenting if a failure occurs. It’s even more important to document such cases because of their high educational value. Dr. Kris Chmielewski, DDS, MSc Educational Director of Dental Photo Master About the author Kris Chmielewski is a dentist and professional photographer. Highly experienced in implantology and esthetic dentistry, he has more than 20 years experience with dental photography. He is also a freelance photographer and filmmaker, involved with projects for the Discovery Channel. 2 CONTENT Equipment 4 Camera 5 Initial camera settings for dental photography 7 Lens 8 Flash 10 Brackets 14 Accessories Retractors 15 Mirrors 16 Contrasters 17 Camera & instrument positioning 18 Intraoral photography Recommended settings 22 Frontal views 23 Occlusal views 23 Lateral views 24 Portraits Recommended settings 26 Views 27 Post-production 29 How to prepare pictures for lectures and for print 30 3 Equipment Equipment For dental photography, you need a camera with a dedicated macro lens and flash. The equipment presented in these pages is intended to serve as a guide that can help with selection of similar products from other manufacturers.