Holga This Camera, As Well As This Assignment, Will Introduce You To

Total Page：16

File Type：pdf, Size：1020Kb

Art 308/Intermediate Photography Spring 2015 Julie Mixon Project 5: Holga This camera, as well as this assignment, will introduce you to medium format film. There are many types of medium format cameras. We will first be working with the most basic of them all: the Holga. It is loved by many photographers because of its ease of use and its unpredictability. Even though quite simple in construction, there is so much you can do with a Holga. The Holga camera takes 120 format, but can also be adjusted to take 35mm. You can either adjust it (on the back of the camera) to make 12 or 16 exposures by using the appropriate frame included with the Holga. One frame indicates that it is for 12 exposures while the other indicates that it is for 16. If you want Holga-like images in all their glory I suggest choosing 12 exposures. You will get a bigger negative in addition to having Holga-like characteristics. The film should be loaded in very dim light. For further instruction on how to use a Holga camera, an instruction book is included in the box. Freestyle has dedicated a page to the Holga camera on their website. You can view image galleries, read the manual, and get tips on how to modify your Holga. Here is the link: http://www.freestylephoto.biz/holga-cameras Developing: Medium format film is process the same as 35mm, other than the size of the reel. When you unroll the spool (in complete darkness of course) there is a strip of paper that runs parallel with the film. You will detach this before loading your film onto the reel. There will be a section at the end you have to cut off. It is the area that attached the paper to the film. Check the manufacturer’s data on the box for time and temperature for development. Enlarging: Medium format film uses a different lens in the enlarger. It must be a 75mm lens or higher depending on the format. Check to see if your enlarger has one before working. We may need several stations for medium format printing. You will also need to use a medium format negative carrier. We have them, but you can also make your own. Here is a link to constructing your own. http://fotogogo.blogspot.com/2009/09/making-custom-negative-carrier.html Content: Embrace the haphazard and serendipitous nature of the Holga and expose life as it happens. Print Finishing: For this project we will be learning how to selenium and sepia tone silver gelatin prints. Requirements: • 2 rolls 120 film exposed (minimum 2 rolls…I suggest more) • 3 prints, 2 contact sheets, 1 selenium toned, 1 sepia toned, the third print either selenium or sepia • Prints should be mounted on 11x14 white mat board • DUE: April 2nd (please have film ready to develop on March 24th) Resources: http://www.lomography.com/holga/ http://www.holgamods.com/ http://www.flickr.com/photos/tags/holga/ http://goholga.com/ http://www.toycamera.com/ http://www.nonphotography.com/ http://www.squarefrog.co.uk/holga-techniques-blackandwhite.html .

Copy Link

Recommended publications

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.
[Show full text]
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.
[Show full text]
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.
[Show full text]
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.
[Show full text]
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.
[Show full text]
Backup of 2014 Update Backup of Lensbaby Class Lesson 1 Copy
Lensbaby Magic Lesson 1 “When subject matter is forced to fit into preconceived patterns, there can be no freshness of vision.” -Edward Weston Welcome to my Lensbaby Magic Class! The Basics Craig Strong invented the Lensbaby when he was trying to find a different look for his images. He was looking for a way to be able to do this in-camera, instead of spending hours sitting at his computer. He wanted to combine the soft, imperfect look produced by Holga film cameras, with the convenience of digital imagery. He says that the Lensbaby he developed gave him some options to match a certain mood in a theme, or to render an image the way he envisioned it. With the trend these day being the most refined, precise, high speed automatic lenses, the Lensbaby is a refreshing Lensbaby Magic Kathleen Clemons 1 step backwards. It’s sort of an odd combination of an old, manual focus lens where you had to do it right the first time, and a modern day video game joystick. The original lens models are mounted on a plastic bellows, which allows you to manually focus by pushing, pulling and bending. A selected part of your image will be in focus, and you control just where that ‘sweet spot” of focus will be by manipulating either the bellows section (the part that looks like vacuum cleaner hose) on the Muse and the original models, or the focus ring on the Composer, which has a ball and socket type design. The remaining areas of your image are softly and gradually blurred, creating unique, eye-catching images.
[Show full text]
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.
[Show full text]
Hasselblad Medium Format Advantages
HASSELBLAD MEDIUM FORMAT ADVANTAGES Photographed by Swee Oh Photographed by Jorge de la Torriente Photographed by Göran Liljeberg Photographed by Tom Oldham WHAT IS HASSELBLAD HASSELBLAD NATURAL MEDIUM FORMAT? SENSOR SIZE & PIXELS DYNAMIC RANGE COLOUR SOLUTION (HNCS) LEAF SHUTTER LENSES In photography, medium format simply refers This includes larger pixel size and meticulously It all starts with the sensor. The CMOS light-gathering capability it possesses. With Dynamic range, measured in stops, refers to solutions can deliver up to 15 stops of dynamic Thanks to the HNCS, selecting a specific colour matching to what the human eye sees Leaf shutter or central-type shutters, providing immense creative control in the to a camera that has a larger sensor than a calibrated sensors, a wide dynamic range of sensors built inside Hasselblad medium greater light gathering power, finer and more the range of light intensities present in a photo, range, as opposed to the standard 10-12 stops colour profile in order to capture accurate without needing to set up multiple colour integrated into the lens rather than the studio and outdoors. When combined 35mm (24x36mm), or full frame DSLR camera. colour tones, the Hasselblad Natural Colour format cameras deliver the best in image detailed tonal information can be produced, from the darkest shadows to the brightest expected from most full frame cameras. The colours correctly becomes unnecessary. presets. The HNCS is designed to deliver an camera, provide a major advantage to with Hasselblad’s excellence in optical But once you dig into the details, Hasselblad Solution, leaf shutter lenses with superb flash quality, resolution, and detail capture pos- delivering more information in the final file.
[Show full text]
PHOTO 103 Introduces Students to Medium and Large Format Film Cameras and Builds on Black and White Skills Learned in PHOTO 101
COURSE OUTLINE : PHOTO 103 D Credit – Degree Applicable COURSE ID 001233 June 2018 COURSE DISCIPLINE : PHOTO COURSE NUMBER : 103 COURSE TITLE (FULL) : Medium and Large Film Format Photography COURSE TITLE (SHORT) : Medium and Large Format Photog CATALOG DESCRIPTION PHOTO 103 introduces students to medium and large format film cameras and builds on black and white skills learned in PHOTO 101. Students learn to pre-visualize and image during exposure, developing, and printing processes. Students create personally inspired projects throughout the course. Significant photographic works by historic and contemporary photographers are presented to provide the diverse cultural contexts for the production of photographic images. Total Lecture Units:3.00 Total Laboratory Units: 1.00 Total Course Units: 4.00 Total Lecture Hours:54.00 Total Laboratory Hours: 54.00 Total Laboratory Hours To Be Arranged: 0.00 Total Contact Hours: 108.00 Prerequsite: PHOTO 101 or equivalent. ENTRY STANDARDS GLENDALE COMMUNITY COLLEGE --FOR COMPLETE OUTLINE OF RECORD SEE GCC WEBCMS DATABASE-- Page 1 of 6 COURSE OUTLINE : PHOTO 103 D Credit – Degree Applicable COURSE ID 001233 June 2018 Subject Number Title Description Include 1 PHOTO 101 Introduction To Describe the social history and significance of Yes Photography photographic works; 2 PHOTO 101 Introduction To identify and use basic film camera features; Yes Photography 3 PHOTO 101 Introduction To identify and use basic digital camera features; Yes Photography 4 PHOTO 101 Introduction To use light meters and demonstrate
[Show full text]
Technical Specifications DATASHEET
H6D-50c/H6D-100cTechnical Specifications DATASHEET H6D-50c H6D-100c Sensor type CMOS, 50 megapixels (8272 × 6200 pixels, 5.3 × 5.3 µm) CMOS, 100 megapixels (11600 × 8700 pixels, 4.6 × 4.6 µm) Sensor dimensions 43.8 × 32.9mm 53.4 × 40.0mm Stills: RAW 3FR capture 65MB on average. TIFF 8 bit: 154MB; Video: Stills: RAW 3FR capture 120MB on average. TIFF 8 bit: 289MB; Image size HD (1920 x 1080p) Video: HD (1920 x 1080p), UHD (3840 x 2160p) File format Stills: Lossless compressed Hasselblad 3FR, 1/4 size JPEG Stills: Lossless compressed Hasselblad 3FR Video: H.264 Compressed (30 fps), Hasselblad RAW Video: H.264 Compressed (30 fps) (HD only), Hasselblad RAW (HD & UHD) Shooting mode Single shot stills, Video Single shot stills, Video Colour definition 16 bit; Dynamic range approx. 14 stops 16 bit; Dynamic range 15 stops ISO speed range ISO 100, 200, 400, 800, 1600, 3200, 6400 ISO 64, 100, 200, 400, 800, 1600, 3200, 6400, 12800 Storage options CFast card, SD card or tethered to Mac or PC CFast card, SD card or tethered to Mac or PC Colour management Hasselblad Natural Colour Solution Hasselblad Natural Colour Solution Storage capacity 16GB card holds 240 images on average 16GB card holds 120 images on average Capture rate 1.7-2.3 capture rate per second TBD Display 3 inch TFT type, 24 bit colour, 920K pixels; Touch functionality: 3 inch TFT type, 24 bit colour, 920K pixels; Touch functionality: Yes, full support Yes, full support Live View: On camera, host and iOS device with high frame rate (30 fps) Live View: On camera, host and iOS device
[Show full text]
Visual Communications Journal
Visual CommunicationsSpring 2017, Volume 53, Number 1 Journal Medium Format Cameras for Digital Photography CHRIS J. LANTZ, Ph.D. Volume 53 Number 1 SPRING 2017 Acknowledgements President – Mike Stinnett Royal Oak High School (Ret.) Editor 21800 Morley Ave. Apt 517 Dan Wilson, Illinois State University Dearborn, MI 48124 (313) 605-5904 Editorial Review Board [email protected] Cynthia Carlton-Thompson, North Carolina A&T State University President-Elect – Malcolm Keif Bob Chung, Rochester Institute of Technology Cal Poly University Christopher Lantz, Western Illinois University Graphic Communications Devang Mehta, North Carolina A&T State University San Luis Obispo, CA 93407 Tom Schildgen, Arizona State University 805-756-2500 Mark Snyder, Millersville University [email protected] James Tenorio, University of Wisconsin–Stout First Vice-President (Publications) Renmei Xu, Ball State University Gabe Grant Cover Design Eastern Illinois University School of Technology Ben Alberti, Western Technical College 600 Lincoln Avenue Instructor, Barbara Fischer Charleston, IL 61920 (217) 581-3372 Page Design, Layout, and Prepress [email protected] Janet Oglesby and Can Le Second Vice-President (Membership) Can Le Printing, Bindery, and Distribution University of Houston Harold Halliday, University of Houston 312 Technology Bldg. University of Houston Printing and Postal Services Houston, TX 77204-4023 (713) 743-4082 About the Journal [email protected] TheVisual Communications Journal serves as the official journal of the Graphic Secretary – Laura Roberts Communications Education Association, and provides a professional Mattoon High School communicative link for educators and industry personnel associated with 2521 Walnut Avenue design, presentation, management, and reproduction of graphic forms of Mattoon, IL 61938 communication. Manuscripts submitted for publication are subject to peer (217) 238-7785 review.
[Show full text]
Plastic Cameras
PLASTIC CAMERAS PRELIMS.indd i 7/30/2010 10:10:40 PM To Ike Royer and Mary Ann Lynch who harassed and inspired me in my journey and made all of this possible. Ike Royer, 1932 – 2008, © Michelle Bates. Image of Ike made in his office at Freestyle Photographic, with a Lensbaby lens on Nikon DSLR. PRELIMS.indd ii 7/30/2010 10:10:40 PM PLASTIC CAMERAS Toying with Creativity Second Edition Michelle Bates Foreword by Mary Ann Lynch Amsterdam • Boston • Heidelberg • London New York • Oxford • Paris • San Diego San Francisco • Singapore • Sydney • Tokyo Focal Press is an imprint of Elsevier PRELIMS.indd iii 7/30/2010 10:10:44 PM Contributing Editor: Mary Ann Lynch Technical Editors: Frank Hamrick and Nic Nichols Title page photo: Coney Island, © Michelle Bates, 1992. Focal Press is an imprint of Elsevier 30 Corporate Drive, Suite 400, Burlington, MA 01803, USA The Boulevard, Langford Lane, Kidlington, Oxford, OX5 1GB, UK Second Edition, 2011 Copyright © 2011 by Michelle Bates. Published by Elsevier, Inc. All rights reserved No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage and retrieval system, without permission in writing from the publisher. Details on how to seek permission, further information about the Publisher’s permissions policies and our arrangements with organizations such as the Copyright Clearance Center and the Copyright Licensing Agency, can be found at our website: www.elsevier.com/permissions. This book and the individual contributions contained in it are protected under copyright by the Publisher (other than as may be noted herein).
[Show full text]