Introduction to Photography
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Quack Summer 2016
Summer 2016 - Vol. 15, Issue 3 All contents © 2016 E.J. Peiker Welcome to the quarterly newsletter from E.J. Peiker, Nature Photographer and www.EJPhoto.com . In this quarterly publication, I share with fellow photographers my photographic experiences, photo equipment reviews, photo and processing tips, and industry news. I also inform subscribers about upcoming workshops and products that I offer. Please feel free to forward this to other photographers and interested parties but please do so only by forwarding this newsletter in its entirety. All content is copyrighted by E.J. Peiker and may not be reproduced. If you would like to be added to the mailing list, unsubscribe, or access back issues, please visit: www.ejphoto.com/newsletter.htm Playa de Gueirua - Asturias, Spain (Sony a7R II, 35mm) Three Kits for Three Types of Photography One of the most common questions that people ask me is what gear I shoot with or for recommendations on what gear to take on different photographic expeditions. While the answer to this is very individual and the right set—up varies from person to person, I can tell you what I have chosen for the time being. Wildlife and Birds: I continue to use the Nikon crop sensor DX bodies for this type of photography coupled with either the Sigma 150-600mm Sport lens, the Nikon 500mm f/4VR lens or the Nikon 80-400 lens. The 500mm lens is often coupled with the latest Nikon 1.4x teleconverter to achieve a focal length of 700mm. When combining this with the 1.5x crop of the D7200 or the new D500 camera, the effective reach is sufficient for almost any subject. -
Photo History Newsletters • Vol
THE AMALGAMATED PHOTO HISTORY NEWSLETTERS • VOL. 2-2 2021 We hope that the Covid pandemic soon passes away so we can get back to normal with regular meetings and events. In the interim here are addi- tional newsletters to keeping you read- ing. Please enjoy. Ken Metcalf of the Graflex Journal has another interesting issue which should entertain you well. Another fine newsletter comes from The Western Canada Photographic Historical Association in British Colum- bia with some fine reading content. Permissions granted: Graflex Journal– Ken Melcalf The Western Canada Photographic Historical Association– Tom Parkinsion SHARING INFORMATION ABOUT GRAFLEX AND THEIR CAMERAS ISSUE 3 2020 FEATURES some leather that was a good match. Thickness was right, color was good, and the pebble grain was close National Graflex Gets a New Coat by Paul S. Lewis……..….....….....….1 enough. So, I had them send me a large sheet; 12x17. Camera Group - Roger Beck………….…….………...….…..…………....2 Having a good supply would allow for some mistakes Viewing Wild Animals at Night by William V. Ward …….…...…………..4 and assure me that there would be enough length and Hold It! Part 1 by Ken Metcalf.……………….…………….…………….....5 width to cover the missing panels with one complete Graflex Patents by Joel Havens….…..………………...…………….…...12 piece. The source I used was Cameraleather ([email protected]). I did just check with them to be sure similar material is available. The report is that although the material is available, supply is limited. So, with material and camera in hand, the next step Ed: Mr. Lewis is a Graflex Journal subscriber and author was to get the new cover panels cut out and attached. -
Rethinking Documentary Photography
RETHINKING DOCUMENTARY PHOTOGRAPHY: DOCUMENTARY AND POLITICS IN TIMES OF RIOTS AND UPRISINGS —————————————————— A Thesis Presented to The Honors Tutorial College Ohio University —————————————————— In Partial Fulfillment of the Requirements for Graduation from the Honors Tutorial College with the degree of Bachelor of Arts in Art History —————————————————— by Jack Opal May 2013 Introduction I would like to think about documentary photography. In particular, I would like to rethink the limits of documentary photography for the contemporary. Documentary, traditionally, concerns itself with the (re)presentation of factual information, constitutes a record.1 For decades, documentary – and especially social documentary – has been under siege; its ability to capture and convey and adequately represent “truth” thrown into question, victim to the aestheticization of the objects, fading trust in their authors, and technological development. So much so that the past three decades have prompted photographer, documentarian, and art historian Martha Rosler to question first its utility, then its role, and finally its future in society. All of this has opened up the possibility and perhaps the need to reconsider the conditions and purpose of documentary practice, and to consider the ways in which it has been impacted by recent technological and historical developments. The invention of the internet and the refinement of the (video) camera into ever more portable devices and finally into the smartphone, and the rise to ubiquity within society of these inventions, signifies a major shift in documentary. So, too, have certain events of the past two decades – namely, the beating of Rodney King (and the circulation of the video of that event) and the development and adoption of the occupation as a major tactic within the political left. -
Inserting Hans Bellmer's the Doll Into the History of Pornography
Claremont Colleges Scholarship @ Claremont Scripps Senior Theses Scripps Student Scholarship 2020 Softcore Surrealism: Inserting Hans Bellmer's The Doll into the History of Pornography Alexandra M. Varga Follow this and additional works at: https://scholarship.claremont.edu/scripps_theses Recommended Citation Varga, Alexandra M., "Softcore Surrealism: Inserting Hans Bellmer's The Doll into the History of Pornography" (2020). Scripps Senior Theses. 1566. https://scholarship.claremont.edu/scripps_theses/1566 This Open Access Senior Thesis is brought to you for free and open access by the Scripps Student Scholarship at Scholarship @ Claremont. It has been accepted for inclusion in Scripps Senior Theses by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. 1 SOFTCORE SURREALISM: INSERTING HANS BELLMER’S THE DOLL INTO THE HISTORY OF PORNOGRAPHY, 2020 By ALEXANDRA M. VARGA SUBMITTED TO SCRIPPS COLLEGE IN PARTIAL FULFILLMENT OF THE DEGREE OF BACHELOR ARTS FIRST READER: PROFESSOR MACNAUGHTON, SCRIPPS COLLEGE SECOND READER: PROFESSOR NAKAUE, SCRIPPS COLLEGE MAY 4TH 2020 2 Contents Acknowledgments. 3 Introduction: Finding The Doll. 4 Critical Reception: Who Has Explored The Doll?. 10 Chapter 1: Construction of the Doll and Creation of the Book. 22 Chapter 2: Publication in Germany and France. 37 Conclusion: Too Real For Comfort. 51 Bibliography. 53 Figures: Die Puppe Sequence, 1934. 56 Figures: La Poupée Sequence, 1936. 64 Figures: 19th and 20th Century Pornography. 71 3 Acknowledgments This thesis could not have been written without the support of my thesis readers, Professors Mary MacNaughton and Melanie Nakaue. I would like to thank them for their unwavering support. Their guidance gave me the confidence to pursue such an eccentric topic. -
Film Camera That Is Recommended by Photographers
Film Camera That Is Recommended By Photographers Filibusterous and natural-born Ollie fences while sputtering Mic homes her inspirers deformedly and flume anteriorly. Unexpurgated and untilled Ulysses rejigs his cannonball shaming whittles evenings. Karel lords self-confidently. Gear for you need repairing and that film camera is photographers use our links or a quest for themselves in even with Film still recommend anker as selections and by almost immediately if you. Want to simulate sunrise or sponsored content like walking into a punch in active facebook through any idea to that camera directly to use film? This error could family be caused by uploads being disabled within your php. If your phone cameras take away in film photographers. Informational statements regarding terms of film camera that is recommended by photographers? These things from the cost of equipment, recommend anker as true software gizmos are. For the size of film for street photography life is a mobile photography again later models are the film camera that is photographers stick to. Bag check fees can add staff quickly through long international flights, and the trek on entire body from carrying around heavy gear could make some break down trip. Depending on your goals, this concern make digitizing your analog shots and submitting them my stock photography worthwhile. If array passed by making instant film? Squashing ever more pixels on end a sensor makes for technical problems and, in come case, it may not finally the point. This sounds of the rolls royce of london in a film camera that is by a wide range not make photographs around food, you agree to. -
Infrared-Photography-Part-1-SM.Pdf
Infrared Photography John Caplis & Joyce Harman Harmany in Nature www.harmanyinnature.com www.savingdarkskies.com Why do infrared photography? Infrared photography offers many unique creative choices you can explore in image making • Excellent monochrome images • Sunlit foliage turns white • Blue skies appear very dark • False color can be applied for dream like scenes • Skin tones are ghostly white • Can be shot in the harsh light in the middle of the day A human eye can see light from 400nm to 700nm on the electromagnetic spectrum. This range is called ‘visible light’. IR photography uses “near infrared light” which is in the range of 700nm-1400nm. These wavelengths are longer than visible light and can’t be seen by humans. How IR filters work There are two types of infrared filters, ones that block IR light while passing visible light and ones that block visible light while passing infrared light. The IR blocking filters are used in stock digital cameras to prevent unwanted IR light from reaching the sensor, which is sensitive to near infrared. In infrared photography we want the opposite, to block most or all visible light and only pass infrared light. Two ways to do IR photography – Stock vs IR-Converted Cameras Stock Camera with Converted Camera with Screw-on external IR filter Internal IR filter • Dim or no preview image • No screw on filter required • No autofocus • Normally bright preview image • Exposure metering can be difficult • Autofocus using live view • High ISOs & long exposures • Exposure metering can be difficult • Requires tripod • Low ISOs • Tripod not always required Camera conversions • Life Pixel https://www.lifepixel.com • Kolari Vision https://kolarivision.com Using Stock Cameras for IR Photography Stock digital cameras have a limited range of sensitivity to infrared light. -
Sports Photography 101
July 20, 2020 Sports Photography 101 by © Greg A. Cooper 2020 Special thanks… Professional and Student Photographers who contributed their work “Sports photographers are like athletes. They must have the aim of a football quarterback, the reflexes of a basketball guard, and the concentration of a tennis player.” -Ken Kobré Categories of Sports Photography... bop.nppa.org/2007 Categories of Sports Photography... Sports Action: A peak action picture that captures the competitive spirt and collective efforts of an athletic team. OR On the field of play, of the players during the play. bop.nppa.org/2007 © John Burgess/ The Press Democrat Categories of Sports Photography... Sports Action: A peak action picture that captures the competitive spirt and collective efforts of an athletic team. OR On the field of play, of the players during the play. Sports Feature: A sports related enterprise picture that depicts the jubilation of victory or the agony of defeat. The event covered should be separate from the game action or outside the field of play. bop.nppa.org/2007 © Greg Kahn/ Independent Tribune © Louis DeLuca/ Dallas Morning News © Thomas Fernandez 2018 Why… What is your Intent? Why… What is your Intent? • For fun © Patrick Smith/ Provo Daily Herald Why… What is your Intent? • For fun • For game coverage Why… What is your Intent? • For fun • For game coverage • To feature an athlete © Paul Kelly 2016 © Danny Moloshok/ ALLSPORT Why… What is your Intent? • For fun • For game coverage • To feature an athlete • Practice skills © Jesse Peterson 2011 How... ...to find? How... ...to find? • Athletic Director (AD) or coaches at local schools © John Burgess/ The Press Democrat How.. -
Photography and Cinema
Photography and Cinema David Campany Photography and Cinema EXPOSURES is a series of books on photography designed to explore the rich history of the medium from thematic perspectives. Each title presents a striking collection of approximately80 images and an engaging, accessible text that offers intriguing insights into a specific theme or subject. Series editors: Mark Haworth-Booth and Peter Hamilton Also published Photography and Australia Helen Ennis Photography and Spirit John Harvey Photography and Cinema David Campany reaktion books For Polly Published by Reaktion Books Ltd 33 Great Sutton Street London ec1v 0dx www.reaktionbooks.co.uk First published 2008 Copyright © David Campany 2008 All rights reserved No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the publishers. Printed and bound in China by C&C Offset Printing Co., Ltd British Library Cataloguing in Publication Data Campany, David Photography and cinema. – (Exposures) 1. Photography – History 2. Motion pictures – History I. Title 770.9 isbn–13: 978 1 86189 351 2 Contents Introduction 7 one Stillness 22 two Paper Cinema 60 three Photography in Film 94 four Art and the Film Still 119 Afterword 146 References 148 Select Bibliography 154 Acknowledgements 156 Photo Acknowledgements 157 Index 158 ‘ . everything starts in the middle . ’ Graham Lee, 1967 Introduction Opening Movement On 11 June 1895 the French Congress of Photographic Societies (Congrès des sociétés photographiques de France) was gathered in Lyon. Photography had been in existence for about sixty years, but cinema was a new inven- tion. -
Digital Infrared Photography by Vega Buchbinder
Digital Infrared Photography By Vega Buchbinder The advent of digital cameras has made infrared photography relatively easily accessible. No longer does one need to handle and process infrared film in the dark under stringent conditions. In the days of film photography Kodak’s film HIE High Speed Infrared Film was the première infrared film, noted for its extensive range. Kodak has stopped making this film in 2007. Today, with a digital camera, an infrared filter, and a tripod, anyone can explore the near infrared spectrum photographically with ease and repeatable results. Using digital infrared (IR) photography one can produce fascinating images that can look surreal, or of an alternate reality. In addition one can use many variations in image rendering, ranging from black and white, to false colors, in order to create artistic images. What is infrared photography? What makes digital infrared photography possible is that the silicon sensors used in digital cameras can “see” into the infrared range of the electromagnetic spectrum. From short wavelengths to longer wavelengths, the electromagnetic spectrum is made of gamma rays, X- rays, ultraviolet rays, visible light, infrared rays, radar, FM radio, TV, and AM radio. The human eye is sensitive to wavelengths from approximately 400 to 700 nanometers (nm), which is the wavelength range for visible light. The CCD and CMOS sensors in digital cameras can easily “see” further into the infrared region to about 1050 nm, which makes IR photography with a digital camera possible today. Note that this part of the IR range is called the near infrared. Thermal infrared rays are much longer, and are not detectible by the CCD or CMOS sensors in our digital cameras. -
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. -
Photography I / FA18
Photography I / ARHA-18 Spring 2011 Tuesday/Thursday 1-4 PM Professor Justin Kimball Phone 542-2124 [email protected] COURSE DESCRIPTION: An exploration of the basic materials, processes, techniques, and aesthetics of black and white analog photography. Emphasis is placed on the use of these skills to express yourself clearly with the medium. Concepts and theories are read, discussed, demonstrated and applied through a series of visual problems. This is complemented by an examination of contemporary and historical photography. COURSE OBJECTIVES: --To develop a student's utilization of photographic materials and equipment. --To achieve both technical and visual skills in photography. --To enable students to become familiar with historical and contemporary photography. COURSE OUTLINE: Weekly shooting assignments are aimed at visual as well as technical exploration. Each student’s work will be discussed in the form of a group critique. The following topics will be covered: 1) Basic camera controls and operation 2) Film development 3) Contact printing 4) Enlargement printing 5) Printing controls and techniques 6) Ambient and artificial light (flash) 7) Slide presentations from the history of photography 8) Matting, mounting and spotting 9) ***The Critique *** GRADES: Grades are based on attendance, quality of the final portfolio, weekly shooting assignments, participation in classroom discussion and critiques, and overall photographic growth and development. To receive a grade you must present your final portfolio for review, and turn in your self-evaluation at the final critique. ABSENCES: More than 3 unexcused absences and you are done NOTE: I reserve the right to change this syllabus at any time. This course can change quickly depending on the needs of the class, the level of expertise of the group as a whole at its onset. -
Nostalgic Consumption Behaviours Among Young Generations in Photography
Nostalgic consumption behaviours among young generations in photography. A comparative approach of Instagram and analogue photography. Author: Evelyne Morlot Supervisor: Håkan Bohman Student Umeå School of Business and Economics Spring semester 2013 Master thesis 15 hp Acknowledgements This thesis started a few months ago with a list of vague ideas written on the corner of a page. Progressively, with the generous help of the Professors Maj-Britt Johansson-Lindfors and Håkan Bohman, one idea emerged and was developed to achieve the present work. The feeling of accomplishment which follows at the end of every thesis is only made possible by a collaborative work. For this reason, I would like to thank my supervisor Håkan Bohman who provided me precious recommendations throughout this process. I would also like to thank all the respondents who largely contributed to this study by their gentle participation: Abigaïl, Camille, David, Elliot, Nicolas and Rislaine. I had a great satisfaction to conduct these interviews which were rich of ideas and perspectives about photography. Evelyne Morlot Abstract With the emergence of digital cameras on phones, photography has become a popular routine. For some people, it is close to a form of ritual, every moment of the present is preciously archived and possibly shared to relatives on social media. This consumption of photography contrasts radically with the one practiced 20 years ago. Analogue photography was more occasional, because it is more time-consuming and also more costly. However, we observe today a resurgence of analogue photography and more particularly among young generations. This phenomenon goes hand in hand with the popularity of transforming contemporary pictures into old-looking ones with services like Instagram.