The Hasselblad Story
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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. -
Zone System Definitions
Zone System Definitions These definitions are meant to be used as guidelines for placement of shadow and highlight values using the Zone System of exposure. They can be used as a starting point for previsualization of a scene with a variety of black and white films, developers and papers. Materials vary in their tonal scale and latitude. For proper control of the Zone System a photographer should test each film and paper to be used. Zone VIII Areas falling in this zone will be white with almost no texture; sometimes referred to as photographic paper white. Only small areas should be allowed to fall this high, such as spectral highlights. Zone VII This is the highest value which will hold texture and detail with most films/developer combinations. It should be used for areas such as: white clothing, white paint and snow in sunlight. All films are more sensitive to blue light. Blue areas of a scene (such as skies) that fall in this zone will be very dense on the negative and rendered white on a print. Zone VI This value is generally used for light skin tones, sky values and concrete sidewalks in direct sunlight. Zone V This zone is known as 18% grey, middle or grey-card grey. This is the resulting value when an area is read and exposed as indicated by all reflective light meters. This value is generally used for dark skin tones Zone IV This value is usually used for average dark foliage, large well-lit architectural shadows, and shadow areas in light skin tones. -
Exposure Metering and Zone System Calibration
Exposure Metering Relating Subject Lighting to Film Exposure By Jeff Conrad A photographic exposure meter measures subject lighting and indicates camera settings that nominally result in the best exposure of the film. The meter calibration establishes the relationship between subject lighting and those camera settings; the photographer’s skill and metering technique determine whether the camera settings ultimately produce a satisfactory image. Historically, the “best” exposure was determined subjectively by examining many photographs of different types of scenes with different lighting levels. Common practice was to use wide-angle averaging reflected-light meters, and it was found that setting the calibration to render the average of scene luminance as a medium tone resulted in the “best” exposure for many situations. Current calibration standards continue that practice, although wide-angle average metering largely has given way to other metering tech- niques. In most cases, an incident-light meter will cause a medium tone to be rendered as a medium tone, and a reflected-light meter will cause whatever is metered to be rendered as a medium tone. What constitutes a “medium tone” depends on many factors, including film processing, image postprocessing, and, when appropriate, the printing process. More often than not, a “medium tone” will not exactly match the original medium tone in the subject. In many cases, an exact match isn’t necessary—unless the original subject is available for direct comparison, the viewer of the image will be none the wiser. It’s often stated that meters are “calibrated to an 18% reflectance,” usually without much thought given to what the statement means. -
Irix 45Mm F1.4
Explore the magic of medium format photography with the Irix 45mm f/1.4 lens equipped with the native mount for Fujifilm GFX cameras! The Irix Lens brand introduces a standard 45mm wide-angle lens with a dedicated mount that can be used with Fujifilm GFX series cameras equipped with medium format sensors. Digital medium format is a nod to traditional analog photography and a return to the roots that defined the vividness and quality of the image captured in photos. Today, the Irix brand offers creators, who seek iconic image quality combined with mystical vividness, a tool that will allow them to realize their wildest creative visions - the Irix 45mm f / 1.4 G-mount lens. It is an innovative product because as a precursor, it paves the way for standard wide-angle lenses with low aperture, which are able to cope with medium format sensors. The maximum aperture value of f/1.4 and the sensor size of Fujifilm GFX series cameras ensure not only a shallow depth of field, but also smooth transitions between individual focus areas and a high dynamic range. The wide f/1.4 aperture enables you to capture a clear background separation and work in low light conditions, and thanks to the excellent optical performance, which consists of high sharpness, negligible amount of chromatic aberration and great microcontrast - this lens can successfully become the most commonly used accessory that will help you create picturesque shots. The Irix 45mm f / 1.4 GFX is a professional lens designed for FujiFilm GFX cameras. It has a high-quality construction, based on the knowledge of Irix Lens engineers gained during the design and production of full-frame lenses. -
Selecting Cameras for UAV Surveys
ARTICLE A REVIEW OF CAMERAS POPULAR AMONGST AERIAL SURVEYORS Selecting Cameras for UAV Surveys With the boom in the use of consumer-grade cameras on unmanned aerial vehicles (UAVs) for surveying and photogrammetric applications, this article seeks to review a range of different cameras and their critical attributes. Firstly, it establishes the most important considerations when selecting a camera for surveying. Secondly, the authors make a number of recommendations at various price points. While this list is not exhaustive, it is intended to present a line of reasoning that UAV practitioners should consider when selecting a camera for survey purposes. Weight, Velocity and Flight Time for Aerial Imaging Weight is an important consideration for aerial imaging that is often not a limiting factor for terrestrial photography. The growth of newer, higher-spec, low- weight cameras is therefore the focus of this article. In addition, the potential areal coverage of a survey is controlled by flight height, flight duration and UAV velocity – these become more tightly constrained with increased payload. Figure 1, Decrease in flight time with payload for a generic battery-powered multi-rotor UAV at a velocity of 6m/s (Bershadsky, 2016). In order to maximise flexibility in the selection of flight height, duration and velocity, weight must be kept to a minimum. A number of lightweight cameras for UAV use are reviewed below. Imaging parameters Sensor size is one of the key imaging parameters as this, along with focal length of the lens, is the core component in defining the ground sample distance (GSD) – the pixel size in the real world – of a survey configuration. -
Art 200.01 Computers In
UW-SP/COFAC Department of Art and Design Professor Guillermo Peñafiel Office: 157 NFAC Phone: X4057 e-mail: [email protected] Office Hours: By appointment ART 215--SYLLABUS AND COURSE OUTLINE COURSE TITLE: Basic photography CREDIT HOURS: 3 Lecture /lab: Tuesday -Thursdays 8:00- 10:15 CATALOG DESCRIPTION: An introduction to basic film photographic techniques in processing, shooting and printing. The course is strictly Black and White, the emphasis is general with heavy leaning to the Fine Arts. Elements of aesthetics are discussed as well as elements of personal expression. COURSE OBJECTIVE: The emphasis of this course is the acquisition and mastery of the basic skills of shooting, metering, processing, darkroom printing and presentation for black and white photography work. All work is “wet process”. CONTENT OUTLINE: An outline of the major topics to be covered in Art 215 is provided below. Nomenclature Camera systems Lenses Films and paper Metering and exposure Chemicals and personal safety Processing Printing The Zone System Composition and design Alternative darkroom techniques Personal expression through photography Presentation and preservation of photographic prints ASSIGNMENTS: Depth of field Line, water, texture and time Mosaic Dreams, secret story Self-portrait SUPPLIES LIST: 100 sheets of photographic paper (8x10 inches) ILFORD WARM TONE, FIBER BASE, VARIABLE CONTRAST – DOUBLE WEIGHT, GLOSSY 12 rolls of 36 exposures KODAK TRI-X PAN – ASA 400 Negative sleeves Scissors 2 hand towels Three-ring notebook Permanent marker (fine tip) Supply Sources : http://www.bhphotovideo.com/ http://www.calumetphoto.com/ http://www.freestylephoto.biz/ GRADING POLICIES: There will be four regular critique sessions and one final critique during finals week. -
May2018-Highlight-Article.Pdf
234 May 2018 PHOTOGRAMMETRIC ENGINEERING & REMOTE SENSING May 2018 Layout.indd 234 4/16/2018 12:05:54 PM ntroduction Since 2000, development and use of digital photogram- metric cameras for aerial survey has gained significant momentum. Many different cameras and systems de- signed for aerial photogrammetry were developed and presented to the market. After 15 years of intensive development, only a few of these products are in wide Productivity use in today’s mapping market. One of the prominent Isystems being provided is the medium format frame Analysis for camera from Phase One Industrial. With the development of CCD and CMOS technology, medium format cameras have come a long way from 40-60 Mpix to 80-100 Mpix cameras. Additionally, high Medium quality metric lenses with a wide range of focal lengths were developed and implemented. This enabled an ef- fective utilization of medium format cameras in many different small and medium sized urban and rural Format mapping projects, corridor mapping, oblique projects, and monitoring of areal and linear infrastructure. This article presents recent development in the ap- Mapping proach to flight planning and aerial survey productiv- ity analysis, firstly presented in Raizman (2012). The Raizman (2012) article referred only to large format Cameras cameras, whereas this article will compare large for- mat cameras vs. medium format cameras, which are getting more and more popular in aerial survey. This Yuri Raizman approach is based on some pre-defined common char- acteristics of the required mapping products. It en- Phase One Industrial ables an equivalent comparison between cameras with different parameters – focal length, sensor form and Denmark size, and pixel size. -
Hasselblad Expands Reach of Medium Format Imaging for Even More
Press information – for immediate release Gothenburg, Sweden 19 June 2019 HASSELBLAD EXPANDS REACH OF MEDIUM FORMAT IMAGING FOR EVEN MORE CREATIVE VERSATILITY Introducing the X1D II 50C, XCD 35-75 zoom lens, Phocus Mobile 2, and revealing details of the upcoming CFV II 50C digital back and 907X camera body Following the revolutionary introduction of the world’s first mirrorless medium format digital camera, the X1D-50c, Hasselblad introduces new additions to its product portfolio that bring the joy of medium format photography to image makers with the capabilities to support their creative endeavours. This includes the evolved X1D II 50C camera, the eagerly awaited XCD 3,5-4,5/35-75 Zoom Lens and Phocus Mobile 2. In addition, Hasselblad reveals the development details of the upcoming CFV II 50C digital back and 907X camera body. Hasselblad’s newest offerings yet again expand the potential of medium format pho- tography with modularity and flexibility, all while offering the brand’s renowned, stunning image quality. X1D II 50C – AN EVOLVED MEDIUM FORMAT PHOTOGRAPHY EXPERIENCE In the pursuit to continue the journey of taking medium format outside of the studio, Hasselblad is pleased to announce the next installment of the X System – the X1D II 50C Mirrorless Medium Format Digital Camera. Dedicated to optimising the X System for a wider audience of creatives, Hasselblad has listened to user feedback and improved upon the first generation with enhanced electronics for a quicker and more intuitive medium format experience. Continuing in the legacy of being the most portable and lightweight digital medium format camera, the X1D II 50C lets you take the power of medium format in a footprint smaller than most full frame DSLRs in a beautifully designed, compact package. -
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. -
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. -
Color Theory & Photoshop
Color Theory for Photographers Copyright © 2016 Blake Rudis Published by: Blake Rudis www.f64academy.com Written, Photographed, Designed, and Illustrated by: Blake Rudis This book is designed to provide information for photographers about Color Theory as it pertains to photography. Every effort has been made to make this book as complete and accurate as possible at the time it was written. All rights reserved. This book or parts thereof may not be reproduced in any form, stored in any retrieval system, or transmitted in any form by any means—electronic, mechanical, photocopy, recording, or otherwise—without prior written permission of the publisher, except as provided by United States of America copyright law. For permission requests, write to the author via email: [email protected] The information, views, and opinions contained within this book are that of the author, Blake Rudis. Blake cannot be held legally liable for any damages you may incur from the information provided herein. ISBN-10: 0-9894066-2-8 ISBN-13: 978-0-9894066-2-8 Table of Contents 1. My Experience with Color Theory………………………………………… 5 2. Color Theory Explained ……………………………………………………… 9 3. The Color Wheel and Digital Photography…………………………… 10 4. How Colors Interact……………………………………………………………. 21 5. How Color Can Manipulate Mood………………………………………… 28 6. Color Theory & Photoshop…………………………………………………… 33 7. Color Theory & ON1 Photo 10………………………………………………. 43 8. Conclusion…………………………………………………………………………… 53 Downloadable Bonus Content……………………………………………………. 55 Continue Your Color Theory Education………………………………………. 56 About the Author………………………………………………………………………. 57 My Color Theory journey began with Bob Ross when I was around five years old. You may chuckle at that, but it is true. I would follow along with Bob, who, like a magician, could create an artistic masterpiece in the span of an hour. -
Evolution Change the Concept of Focal Length?
CORE Metadata, citation and similar papers at core.ac.uk Provided by Ghent University Academic Bibliography AARGnews 34 (March 2007) Did the digital (r)evolution change the concept of focal length? Geert Verhoeven Introduction The advent of digital photography opened a completely new world for a lot of people. Just look around: there has never been a moment in photography’s long history that so many people actually had and used a photo camera. However, along with new technology always come misconceptions. One of these often heard and read delusions is the fact that “the focal length of lenses changes when used on a digital camera”, leading to strongly magnified images as indicated by a so-called digital magnification factor . The purpose of this article is to prove the above statement (and term digital magnification factor) to be incorrect by outlining the concepts of focal length and image sensor size as well as their combined effect on field of view. Size matters * Film formats Although aerial photographers use(d) a variety of photographic film formats, this article will compare the 135 format to its digital equivalent, in order not to end up comparing apples to oranges. Launched in 1934, this format had the highest sales worldwide. Hence, a lot of people are not even aware of the fact that smaller as well as larger film formats exist. On one end of the range, one finds smaller film formats as the 110 or sub-miniature format (introduced by Kodak in 1972 and 16 mm wide) as well as the rather recently (1996) launched APS (Advanced Photo System ) format, characterized by a 24 mm wide film.