Lens Assembly Incorporating a Photo-Ranging System

Total Page:16

File Type:pdf, Size:1020Kb

Lens Assembly Incorporating a Photo-Ranging System iiililiili^ @ EuroPean Patent Office ^-S Office europeen des brevets (fi) Publication number : 0 661 584 A1 12 EUROPEAN PATENT APPLICATION (2j) Application number: 94309881.4 © int. ci.6 : G03B 15/05, G03B 19/07, G03B 13/12 (22) Date of filing : 22.12.94 (§) Priority : 23.12.93 US 178388 @ Inventor : Clark, Peter P. 129 Meadow Lane Boxborough, MA 01719 (US) @ Date of publication of application Inventor : Sorli, Duncan C. 05.07.95 Bulletin 95/27 11 Jonathan Lane Chelmsford, MA 01824 (US) @ Designated Contracting States : DE ES FR GB IT NL (74) Representative : Skone James, Robert Edmund GILL JENNINGS & EVERY @ Applicant : POLAROID CORPORATION 549 Technology Square Broadgate House 7 Eldon Street Cambridge, Massachusetts 02139 (US) London EC2M 7LH (GB) @) Lens assembly incorporating a photo-ranging system. (57) A plurality of fixed focus exposure lenses are mounted in a turret (42) for manual selection of a desired focus. Each exposure lens (34) in the turret (42) is combined with a pair of ranging lenses (26,28) for movement therewith which direct light beams to converge at the sharpest subject focus distance of the exposure lens. 00 S CO LU Jouve, 18, rue Saint-Denis, 75001 PARIS 1 EP 0 661 584 A1 2 This invention is related to a camera for close-up ferent from the focal length of another exposure lens; photography using a photo-ranging system to insure at least two ranging systems, the ranging sys- that the subject to be photographed is properly fo- tems including a source of light directed to a pair of cused. The ranging system is used in combination light focusing ranging lenses, with at least one of the with a selected one of a plurality of fixed focus lenses 5 film exposure lenses being mounted in fixed relation- mounted at the front of the camera. ship between one of the pairs of light focusing lenses, Cameras having the capacity to take close-up each pair of focusing lenses combining to focus photographs are not new. An example of a camera beams of light from the light source to converge at the used for close-up photography is the Acmel Macro sharpest subject focus distance of the related expos- Auto V6 camera manufactured by Acmel Corporation 10 ure lens mounted therebetween; and of Tokyo, Japan which involves a high complicated an adjuster for locating a desired combination system involving focal beams and a plurality of de- of a pair of light focusing lenses and a related expos- tachable lenses for different focal lengths. Each de- ure lens in operative position to take a photograph. tachable lens is designed for a single subject dis- This invention typically incorporates a plurality of tance. The resulting camera serves its purpose but is 15 exposure lenses in a turret mounted on the front of altogether too complicated for easy use by a camera the camera. The turret is mounted to rotate about an operator. It is both bulky and heavy, weighing about axis generally perpendicular to a line extending from 4 1/2 pounds. the focal point of the exposure lens to the centerof the The use of converging light beams from a camera exposure lens itself (i.e., the optical axis of the expos- to determine a proper subject to camera distance is 20 ure lens). Each of the plurality of exposure lenses is old art as disclosed in U.S. Patent No. 3,416,426 of a different fixed focal length and magnification, which is specifically incorporated herein by refer- from the other exposure lenses. The selected focal ence. The theory disclosed therein and in other liter- lengths listed subsequently are believed to be most ature provides a light source reflected from spaced frequently desirable for typical close-up photography apart mirrors through a lens board to converge at the 25 for which this camera is designed. subject of the photograph. This technique is useful Each exposure lens in the camera is combined where several parameters remain constant, in partic- with a pair of combination ranging light lens and ular, one of the constants is flash photography. With prisms which are located on the turret diagonally flash photography the duration of exposure is set and across from each otheron each side of the associated the only other variables are the exposure aperture 30 exposure lens. A combination of said transversely and the focus of the lens. mounted prism-lenses and ranging lights are perma- U.S. Patent No. 4,777,501 discloses a single pair nently focused and oriented to direct beams of light of laser ranging lights of different wavelengths which intersect the axis of the exposure lens system. mounted to project converging light beams at the focal The two converging light beams may be observed vis- point of a single fixed focus exposure lens of the as- 35 ually at the sharpest subject focus distance of the ex- sociated camera. posure lens system. The photographer may simply U.S. Patent No. 4,914,460 discloses a single pair observe the impinging beams of light from the two of light sources each of which projects a plurality of transversely mounted ranging lights as they impinge light beams in a particular pattern. The pattern is dis- on the subject. A single spot of light existing on the played on a surface which allows an observer to de- 40 subject formed by the two converging light beams in- termine the topography of the surface and its dis- dicates the subject is in focus through the exposure tance from an associated camera. The camera is lens system. Two spots of light or a non-circular or ob- mounted equidistant between the two light sources. long, pattern indicates the subject is out of focus. Get- U.S. Patent No. 5,142,299 discloses an under- ting the subject in properfocus is achieved by moving water camera mounted between a pair of light sourc- 45 the camera and/or rotating the turret to align a differ- es. The light sources project light beams to converge ent exposure lens together with their associated rang- at the focal point of a single fixed focus lens system ing light lenses and prisms. of the associated camera. Each pair of ranging lights is coordinated with a What is missing from the prior art is a camera for single fixed focus exposure lens such that conver- close-up photography having more that one focal 50 gence of the light beams of the ranging lights occurs length available to a user combined with a plurality of at the sharpest subject focus distance of the associ- ranging systems to insure proper focus of the subject. ated exposure lens. The photographer may manually According to the present invention, we provide a select a desired focus distance by selecting the ap- camera having more than one film exposure lens with propriate exposure lens and selection is made by ro- each such lens having a related ranging system, com- 55 tating the turret. The combined pair of lenses for di- prising: recting the ranging light beams are fixed in place on at least two exposure lenses, each of the ex- the turret and automatically move into operative pos- posure lenses having a fixed focal length which is dif- ition as the turret stops at the selected exposure lens. 2 3 EP 0 661 584 A1 4 Objects of the invention not understood from the beam focusing lenses and exposure lens combination above and the scope of applicability of the present in- into a desired position. It will be observed that the vention will become apparent from the detailed de- flash units 38, 40 remain stationary in opening 3 while scription to follow taken in conjunction with the ac- each set of three lenses shifts into operative position. companying drawings in which like parts are desig- 5 That is, there are five different exposure lenses 34 nated by like reference characters. which may be adjusted into operable position by ro- Fig. 1 is a perspective view of a camera having a tating knob 44 and each lens 34 has a different fixed plurality of exposure lenses and ranging light focal length. Each exposure lens 34 is supported in lenses mounted for selective use on a turret ac- combination equidistant between a pair of light focus- cording to this invention; 10 ing ranging lenses 26, 28. Each pair of ranging lenses Fig. 2 is a fragmentary perspective view of the 26, 28 is coordinated with its associated exposure turret, light and lens orientation of the camera of lens 34 such that the directed beams of light 30, 32 Fig. 1; converge at the sharpest subject focus distance of the Fig. 3 is a fragmentary sectional view of the gen- associated exposure lens 34. For convenience, light eral orientation of the camera adjustable turret, 15 beams 30, 32 are circular in their projection and at the lens and lighting combination of the invention; focus of the associated exposure lens 34, the beams and converge to a single circular pattern. Accordingly, the Fig. 4 is a block diagram of the manual select camera operator views the subject to be photograph- switch and turret position control of the strobe ed through an eyepiece 48 oriented with a viewing lights in the close-up camera of the present in- 20 optical system 50 and a pair of mirrors 52, 54 such vention. that the operator sees the subject to be photographed This invention includes a camera 10 having an along a viewing path coaxial with the optical axis of upper housing 12 and a lower housing 14 as shown the exposure lens 34.
Recommended publications
  • Process Camera, Stripping, and Platemaking. Teacher Guide. INSTITUTION Mid-America L)Cational Curriculum Consortium, Stillwater, Okla
    DOCUMENT RESUME ED 327 663 CE 056 673 AUTHOR Feasley, Sue C., Ed. TITLE Graphic Arts: Process Camera, Stripping, and Platemaking. Teacher Guide. INSTITUTION Mid-America l)cational Curriculum Consortium, Stillwater, Okla. REPORT NO 90-007460 PUB DATE 90 NOTE 285p.; For related documents, see CE 056 671-672. AVAILABLE FROM Mid-America Vocational Curriculum Consortium, Inc., 1500 West Seventh Avenue, Stillwater, OK 74074 (order no. 802001: $22.00). PUB TYPE Guides - Classroom Use - Guides (For Teachers) (052) EDRS PRICE MF01 Plus Postage. PC Not Available from EDRS. DESCRIPTORS Behavioral Objectives; Competency Based Education; Course Descriptions; Curriculum Guides; =Graphic Arts; Learning Activities; =Photographic Equipment; *Photography; Postsecondary Education; Production Techniques; Secondary Education; Units of Study ABSTRACT This curriculum guide is the second in a three-volume series of instructional materials for competency-based graphic arts instruction. Each publication is designed to include the technical content and tasks necessary for a student to be employed in an entry-level graphic arts occupation. Introductory materials include an instructional/task analysis that correlates job training with related information for this course; a list of tools, equipment, and materials; and a list of 12 references. Each of the seven instructional units includes some or all of these basic components: performance objectives; suggested activities for teachers and students; information sheets; assignment sheets; job sheets; visual aids; tests; and answer keys. Units are planned for more than one lesson or class period. Unit topics include the process camera and other darkroom equipment; line photography; halftone photography; other darkroom techniques; overview of procass color photography; stripping procedures; and platemaking procedures.
    [Show full text]
  • Durst Da900 Manual Us B.Pdf
    SPECIFICATION OF COMPONENTS AND OPERATING KNOBS Serial number Description Page 1) Base 2 2) Projection board 2 3) Hexagonal screws for fixing the column in the base 2 4) Column 2 5) Enlarger head 2 6) Fi Iter drawer 2 7) Mirror housing 2 8) DANOCON 50 twin condenser 2 9) DANOCON 105 twin condenser 2 10) DUONEG negative carrier 2 11) AUTONEG negative carrier 12) Lenses with their lens board 2 13) Serial number plate 3 14) Angular bar on column 3 15) Lock of the quick-locking lens holder 3 16) Lens carrier 3 17) Cable with plug and switch 4 18) Cover of the I ight hood 5 19) Fixing screws for AUTOCALO 4 20) Red filter wheel-grip 5 21) Shutter wheel-grip 6 22) Grip bar for opening the serial number plate 6 23) Condenser grip (DANOCON 50) 6 24) Hooks on the condenser mounti ng 6 25) Condenser fixing bar 6 26) Pushing-bar for changing the lenses 6 27) Lamp socket 6 28) Wheel-grip for vertical adjustment of the enlarger head 29) Locking screw for the enlarger head adjustment 7 30) Guide tracks for the heat absorbing filter 4 31) - 32) Wheel-grip for focusing both the lenses 10 33) Lens carriage 14 34) Focus variator wheel-grip 14 35) Locking knob of focus variator 15 36) Cross-slot screws on the base board 18 37) Green filter 19 38) Steel bands 20 DURST DA 900 A precision professional enlarger for all negative formats up to 20 x 3112" (6.5 x 9 cm.) including 70 mm.
    [Show full text]
  • Manual Sinar P2 / C2 / F2 / F1-EN (PDF)
    lnstructionManual The cameras Operatingcontrols of the SINAR iT p2andc2 1 Coarse-focusclamping lever 2 Finefocusing drive with depth of field scale 3 Micrometer drive for vertical (rise and fall) shift 4 Micrometer drive for lateral(cross) shift 5 Micrometerdrive for horizontal-axistilts 6 Micrometer drive for vertical-axisswings 7 lmageplane mark 8 Coarse-tilt (horizontal axis) clamping lever; movementused for verticalalignment of stan- dards with camerainclined up or down, alsofor coarse tilting to reservefull micrometertilt (5) rangefor sharpnessdistribution control. Fig.1 Contents The cameras 2 The planeof sharpnessand depthof field 11 - Controls 2 - Zerosettings Fufiher accessories 12 3 - - Mountingthe camera SINARCOLOR CONTROLfitters 12 4 - - The spirit levels Exposure meters 12 4 - - The base rail 4 AutomaticSINAR film holder - Changingcomponents 4 and shuttercoupling 12 - Film - The bellows 5 holders 13 - Camera backs s Final points 14 - Switchingformats p2 on the STNAR andc2 6 - Maintenance 14 - Switchingformats g on the SINARf2 andtl - Cleaning 14 - The convertible g camera - Adjusting the drives 14 - The bellowshood 9 - Cleaninglenses, filters and mirrors 14 - Viewingaids 9 - Warranty 14 - Transport l0 - Furtherinstruction manuals 14 The view camera movements 10 Remark: The camerac2 is no longerpart of the SINARsales programme, but can stiltrbe combined by the individualSINAR components. Operatingcontrols of the S|NARt2andtl 1 Coarse-focusclamping knob 2 Finefocussing drive with depthof fieldscale 3 Clampingwheel for verticalshift 4 Clampinglever for lateralshift 5 Clampinglever for swing (verticalaxis) 6 Clampinglever for tilt (horizontalaxis) 7 Angle-meteringscale for tilt and swingangles 8 lmageplane mark Zero setting points of the cameras CAMERAMODELS REAR(IMAGE) STANDARD FRONT(LENS) STANDARD NOTES SINARo2 With regularor special gxi|2 - 4x5 / White l White White dot for standardbearer 5x7 /13x18 Green i dots White lateralshift on With F/S back j or.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • Lhe STANDARD COMMERCIAL SERIES /Or
    "MAKE THE CORRECTION ON THE NEGATIVE" DOUBLE SWING BACK DOUBLE SWING FRONT lhe STANDARD COMMERCIAL SERIES /or extra large rigid cameras, extra long bellows for extra long focus lenses permitting greatest possible image control, greatest possible depth of field control at the largest possible " taking aperture". extra tall rigid camera stands, permitting highest elevation at maximum angle positions for look-down reproductions. Also allowing lowest maximum angle position for look-up reproductions. L. F. DEARDORFF & SONS, INC. H SOUTH DES PLAINES STREET, CHICAGO 6, ILLINOIS DESIGNERS AND BUILDERS OF PRECISION CAMERAS AND STANDS FOR CORRECTIVE PHOTOGRAPHY COMMERCIAL SERIES CAMERAS This series of Commercial Studio Cameras made for many years has always led the field in perfection of design, compactness, rigidity and ease of manipulation for making the most perfect reproductions. Throughout the world the leading Commercial, Illustrative and Industrial Photographers not only welcomed this series of cameras but proclaimed them the Standard of perfection in their field. The extra size of this series and the extreme double swings at the back and front and the raising, lowering and sliding lens board permit making repro­ ductions of the desired size, showing detail and sharpness of definition, with depth of field control, perspective control, and last but not least image distortion control not possible with the smaller view type of cameras. The use of extra long focus lenses permits making the desired size of image from the correct point of view of even the smallest objects. Freedom from distortion plus superior lighting effects, made pos­ sible because of the greater lens to subject distance, has greatly improved the work of the illustrator as is seen from a study of the results coming from many outside sources.
    [Show full text]
  • 141 Midterm Review
    141 midterm review FILM EXPOSURE Short or Wide-angle Lenses Exposure is controlled by: 1. Common wide angle lenses for a 4x5 1. f/stop (or aperture) located in the lens view camera: 90mm and 75 mm 2. Shutter speed. The shutter is: 2. Give a wider angle of view than a normal lens. a. located in the camera body on a 3. Have more depth of field than longer lenses. 35mm single-lens reflex 4. Increased feeling of space. b. located in the lens on a 4x5 view camera The B setting holds the shutter open for as long as Long or Telephoto Lenses: the shutter release is held. 1. Common long lenses for a 4x5: 210mm, 300mm The X setting on the shutter is for electronic flash 2. Give a narrow angle of view. synchronization, M is for flash bulbs. 3. Are generally slower than wide lenses. The T setting is for long exposures. Pressing the 4. Less depth of field than shorter lenses. shutter once on T opens the shutter, 5. Compress space. pressing it again closes the shutter. DEPTH OF FIELD- The area of the image Equivalent exposures are adjustments made to in front and back point of focus, that falls within shutter speeds or f/stops which change a visual acceptable focus. effect without altering film or print density. Example: Depth of field (DOF) is determined by: changing from f8 at 1/125 to f11 at 1/60, increases 1. F/stop (smaller apertures increase DOF) the depth of field in the scene while maintaining an i.e.
    [Show full text]
  • Sinar-Mode-Emploi-Shutter-System.Pdf
    Ärehivexerpplaf Unikat slnarNichtveräusserlich Sinar Autoaperture Shutter InstructionManual $nar 1.Before you start lntroduction We congratulateyou on your purchaseof your SinarAuto- apertureShutter and we appreciateyour confidencein our products.We are convincedthat the SinarAutoaper- ture Shutterwill add significantconvenience to your work. Its robustand preciseconstruction will bringyou longand trouble-free operation. The SinarAutoaperture Shutter is a mechanicallycontrol- led, self-cockingbehind-the-lens shutter with an auto- maticspring-loaded diaphragm that can be used with all Sinaronlenses as well as manvother lenses currentlv on the market. Beforeyou use your Sinar AutoapertureShutter for the firsttime, pleaseread this InstructionManual carefully. lt will help you to use the shuttercorrectly, thus avoiding difficultiesthat mightarise from improperuse. lf you haveany commentsor recommendationsregarding your Sinar AutoapertureShutter or this InstructionMan- ual, please do not hesitateto send us your opinionsin writing. We sincerelywish you much satisfactionin workingwith the Sinar AutoapertureShutter and gratifyingsuccess with your photographs. For those in a hurry lf you are in a big rush, at the very least read the Abbre- viated lnstructionson Page 4. But in order to use the SinarAutoaperture Shutter to your bestadvantage, we do recommendthat sometimelater you readthe full operat- ing instructionsall the way through. Sinar Autoapertule Shutter $nar Operating Gomponents '1 Shutter-open indicator ---------------- ShutterSpeed SelectionLever
    [Show full text]
  • LARGE FORMAT LENSES LARGE FORMAT LENSES 24 Hour Fax: 800-947-7008 Any Movement.) Limeter, Forminimum Imagecircle Required Without Cific Filmsize
    Section4 LargeFormatLenses Introduction . 230-232 Nikon . 233-235 Rodenstock . 236-239 Schneider . 240-243 Heliopan Center Filters . 242 Wisner . 244 LARGE FORMAT LENSES INTRODUCTION All large format camera lenses are designed to be used with all photographic films. Image Circle The size of the circular image that lenses project is called the image circle. It is large enough to surround, or cover, the frame of the final image on the film. If you take a lens intended for 35mm film and use it with a larger-sized film, its covering power will not be exten- sive enough. As a result, vignetting, which is the dark- ening of the image’s corners, will occur. In a situation in which the covering power is extremely inadequate, a LARGE FORMAT LENSES LARGE FORMAT darkened circle appears around the image. Conversely, using a lens from a large-format camera on a smaller Angulon series. Almost every lens in this group has an camera works, because there is more than enough cov- angle of coverage of either 100° or 105° and focal erage. (This is what happened when you visualize a lengths ranging from 65mm to 210mm. All of these lenses are considered wide-angle, and each focal length 230 90mm lens covering both 4x5˝ and 35mm film). Photographers who use 35mm or medium-format is designed for a specific format. The 65mm lens is lenses are not very concerned with covering power, intended for use with 4x5˝ film; the 210mm lens, with because they almost always shoot with lenses designed 8x10˝ film. These lens-and-film format combinations specifically for their cameras, or at least the same cam- provide wide angles of view of approximately 86° and era format.
    [Show full text]
  • Photographic Amusements : Including a Description of a Number of Novel
    TR 148 W6 1905 ' y ^>/ \& r >-^^ (^-^ '^ ' LIBRARY UNIVERSITY OF CALIFORNIA SAN D1EQO Df C. Theron v. E Physician &Surgeon f Graduate of Royal University of Berlin. Specialty Diseases of Women. DAVENPORT, - IOWA. HOTOGRAPHIC AMUSEMENTS INCLUDING A DESCRIPTION OF A NUMBER OF NOVEL EFFECTS OBTAINABLE WITH THE CAMERA WALTER E. WOODBURY FORMERLY EDITOR OF "THE PHOTOGRAPHIC TIMES"; AUTHOR OF THE ENCYCLOPEDIC DICTIONARY OF PHOTOGRAPHY, "ARISTOTYPES AND How TO MAKE THEM," ETC., ETC. A NEW EDITION NEW YORK : THE PHOTOGRAPHIC TIMES PUBLISHING ASSOCIATION 34 UNION SQUARE 1905 Copyrighted, 1896. BY THE SCOVILL & ADAMS Co., OF NEW YORK, 1905, BY THE PHOTOGRAPHIC TIMES PUBLISHING ASSOCIATION. PHOTO-TIMES PRES CONTENTS. PAGE INTRODUCTION, 5 THE MIRROR AND THE CAMERA, - - 7 THE PHOTO-ANAMORPHOSIS, - 14 STATUETTE PORTRAITS, IT MAGIC PHOTOGRAPHS, - 19 SPIRIT PHOTOGRAPHY, - 21 PHOTOGRAPHY FOR HOUSEHOLD DECORATION, - 29 LEAF PRINTS, - 33 To MAKE A PEN AND INK SKETCH FROM A PHOTOGRAPH, 36 PHOTOGRAPHS ON SILK, 36 PHOTOGRAPHING A CATASTROPHE, 38 PHOTOGRAPHS ON VARIOUS FABRICS, - 39 SILHOUETTES, 41 PHOTOGRAPHING THE INVISIBLE, 44 How TO MAKE PHOTOGRAPHS IN A BOTTLE, 44 PHOTOGRAPHS IN ANY COLOR, 45 THE DISAPPEARING PHOTOGRAPH, 47 FREAK PICTURES WITH A BLACK BACKGROUND, 48 How TO COPY DRAWINGS, 52 SYMPATHETIC PHOTOGRAPHS, - 56 DRY-PLATES THAT WILL DEVELOP WITH WATER, 56 CARICATURE PHOTOGRAPHS, - - 57 PHOTOGRAPHING SEAWEEDS, 62 STAMP PORTRAITS, 63 LUMINOUS PHOTOGRAPHS, - 63 FLORAL PHOTOGRAPHY, - - - - 64 4 CONTENTS. DISTORTED IMAGES, - 67 PHOTOGRAPHS WITHOUT LIGHT,
    [Show full text]
  • L.F. Deardorff & Sons, Inc
    "MAKE THE CORRECTION ON THE NEGA TlVE" L.F. DEARDORFF &SONS, INC. 315 SO. PEORIA ST., CHICAGO, ILL. 60607 PHONE: 3121829·5655 PRECISION VIEW CAMERAS AND ACCESSORIES VIEW CAMERAS VIEW CAMERA LENS BOARD REDUCER Size of Camera Professional User's Net For 8x10 View Camera: 4x5 SPECIAL .... .. .. ..... .. ... .. $1,321.00 From 6"x6", to 4y,'x4'h", or to 4"x4".... each $ 47.75 4x5 SPECIAL, with Reversible Back (Graflok fittings) 1,423.60 4x5 SPECIAL, with Revolving Back (Standard) . 1,389.75 4x5 SPECIAL, with Revolving Back only (Graflok fittings). 1,521.75 5x7 . 1,309.00 SLIDING CARRIAGE BACKS FOR VIEW CAMERA 8x10 . .. · t1.854.50 For 4x5 Special or 5x7 Camera: 11x14 .............. .. · t3,163.60 4x5 SPECIAL to 4x5 or 5x7 to 4x5 367.60 11 x 14 with Revolving Adapter and Makes two 2'h"x4" on 4x5 8x 10 Camera Back only .. ... · 3,692.75 5x7 to 5x7 .. .. ...... 328.35 Includes Lens Board and Reversible Back, Makes two 3'h"x5" on 5x7 Reducing Back may be substituted for full size. For 8x10 Camera: 8x10 to 4x5 ... .... 422.20 VIEW CAMERA REVERSIBLE BACKS Makes two 2'h"x4" on 4x5 4x5 SPECIAL or 5x7 to 4x5 . .... ... 231.25 8x10 to 5x7 . ... ...... 410.20 4x5 SPECIAL or 5x7 to 4x5 (Graflok fittings). 333.85 Makes two 3'h"x5" on 5x7 5x7 . .. 219.25 8x10 to 8xJO . .. 420.00 8x10 .. ... ... ..... 273.00- Makes two 5"x8" on 8x 10 8x10 to 4x5 . ..... .. 249.50 8x10 to 5x7 ... ..... .. 249.50 8x10 to 4x5 (Graflok fittings) . 351.00 11x14 .....
    [Show full text]
  • View Camera Solutions
    DIGITAL CAMERAS View Camera solutions With digital photography it has become easier to work the tilt/shift New ground breaking developments on the H3D camera system mechanism of a view camera and hereby achieve a special photo- allow for direct tilt/shift work using the new HTS1.5 tilt/shift graphic expression. The digital solutions however, are still heavy to adapter, and the new HVC view camera adapter kit allows for bring into the field, and controls to place the wanted focus correctly classic view camera work both un-tethered and with new levels of are not optimal. focus control. View Camera Connectivity The CF/CF-MS/CFV digital back can also be mounted onto a view All Hasselblad digital camera products can work with view cameras. camera platform. Two options are available to physically attach the digital capture Both the H3D camera products and the CF range of digital backs have unit to the view camera. The first is known as a Live Video Adapter, a sophisticated interface, and allow micro-processor controlled connec- as the only method of composing and focusing the image is done via tions to electronic shutters for full control capture mode (single-shot, the Live Video controls in Phocus. The second is the Sliding Adapter multi-shot) and of aperture, shutter and exposure. that allows use of a conventional ground glass screen for composition The remaining digital products are triggered by a simple flash sync and the ability to then slide the back in place. These items are easily connection. A summary is outlined in the table below.
    [Show full text]