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Denver Cmc Photography Section Newsletter
MARCH 2018 DENVER CMC PHOTOGRAPHY SECTION NEWSLETTER Wednesday, March 14 CONNIE RUDD Photography with a Purpose 2018 Monthly Meetings Steering Committee 2nd Wednesday of the month, 7:00 p.m. Frank Burzynski CMC Liaison AMC, 710 10th St. #200, Golden, CO [email protected] $20 Annual Dues Jao van de Lagemaat Education Coordinator Meeting WEDNESDAY, March 14, 7:00 p.m. [email protected] March Meeting Janice Bennett Newsletter and Communication Join us Wednesday, March 14, Coordinator fom 7:00 to 9:00 p.m. for our meeting. [email protected] Ron Hileman CONNIE RUDD Hike and Event Coordinator [email protected] wil present Photography with a Purpose: Conservation Photography that not only Selma Kristel Presentation Coordinator inspires, but can also tip the balance in favor [email protected] of the protection of public lands. Alex Clymer Social Media Coordinator For our meeting on March 14, each member [email protected] may submit two images fom National Parks Mark Haugen anywhere in the country. Facilities Coordinator [email protected] Please submit images to Janice Bennett, CMC Photo Section Email [email protected] by Tuesday, March 13. [email protected] PAGE 1! DENVER CMC PHOTOGRAPHY SECTION MARCH 2018 JOIN US FOR OUR MEETING WEDNESDAY, March 14 Connie Rudd will present Photography with a Purpose: Conservation Photography that not only inspires, but can also tip the balance in favor of the protection of public lands. Please see the next page for more information about Connie Rudd. For our meeting on March 14, each member may submit two images from National Parks anywhere in the country. -
“Digital Single Lens Reflex”
PHOTOGRAPHY GENERIC ELECTIVE SEM-II DSLR stands for “Digital Single Lens Reflex”. In simple language, a DSLR is a digital camera that uses a mirror mechanism to either reflect light from a camera lens to an optical viewfinder (which is an eyepiece on the back of the camera that one looks through to see what they are taking a picture of) or let light fully pass onto the image sensor (which captures the image) by moving the mirror out of the way. Although single lens reflex cameras have been available in various shapes and forms since the 19th century with film as the recording medium, the first commercial digital SLR with an image sensor appeared in 1991. Compared to point-and-shoot and phone cameras, DSLR cameras typically use interchangeable lenses. Take a look at the following image of an SLR cross section (image courtesy of Wikipedia): When you look through a DSLR viewfinder / eyepiece on the back of the camera, whatever you see is passed through the lens attached to the camera, which means that you could be looking at exactly what you are going to capture. Light from the scene you are attempting to capture passes through the lens into a reflex mirror (#2) that sits at a 45 degree angle inside the camera chamber, which then forwards the light vertically to an optical element called a “pentaprism” (#7). The pentaprism then converts the vertical light to horizontal by redirecting the light through two separate mirrors, right into the viewfinder (#8). When you take a picture, the reflex mirror (#2) swings upwards, blocking the vertical pathway and letting the light directly through. -
No Slide Title
December 2007 Updated 12/17/07 AT&T Mobility December ~ Washington Government WSCA – AT&T Mobility Device and Rate Plan Update for 2007 All Offers for Government Use ONLY On the attached pages you will find updates to the December WSCA pricing for Equipment and Rate Plans. Table of Contents Page 2: Voice Rate Plans Page 3: FREE Cellular Phones Page 4: Cellular Phones Page 5: BlackBerry Devices Page 6: SmartPhones (Microsoft, Nokia, Palm) Page 7: Push-to-Talk Devices Page 8: Aircards Page 9: Accessories Page 10: Nationwide Coverage Map December Highlights: ¾New Blackberry 8310 Curve! ~ Onboard GPS ~ Available in Titanium & Red! ¾ New Samsung Blackjack 2 – GPS ~ Available in Black & Red! ¾ Air Card Promotion: Sierra AC881 & Option GT Max FREE! *Certain devices may not be shown due to policy or otherwise WSCA Pricing. For more Information Contact: Prices and Promotions subject to change without notice Rob Holden All Offers for Government Use ONLY 425-580-7741 Master Price Agreement: T07-MST-069 [email protected] All plans receive WSCA 20% discount on monthly recurring service charges December 2007 December 2007 Updated 12/17/07 AT&T Mobility Oregon Government WSCA All plans receive 20% additional discount off of monthly recurring charges! AT&T Mobility Calling Plans REGIONAL Plan NATION Plans (Free Roaming and Long Distance Nationwide) Monthly Fee $9.99 (Rate Code ODNBRDS11) $39.99 $59.99 $79.99 $99.99 $149.99 Included mins 0 450 900 1,350 2,000 4,000 5000 N & W, Unlimited Nights & Weekends, Unlimited Mobile to 1000 Mobile to Mobile Unlim -
Completing a Photography Exhibit Data Tag
Completing a Photography Exhibit Data Tag Current Data Tags are available at: https://unl.box.com/s/1ttnemphrd4szykl5t9xm1ofiezi86js Camera Make & Model: Indicate the brand and model of the camera, such as Google Pixel 2, Nikon Coolpix B500, or Canon EOS Rebel T7. Focus Type: • Fixed Focus means the photographer is not able to adjust the focal point. These cameras tend to have a large depth of field. This might include basic disposable cameras. • Auto Focus means the camera automatically adjusts the optics in the lens to bring the subject into focus. The camera typically selects what to focus on. However, the photographer may also be able to select the focal point using a touch screen for example, but the camera will automatically adjust the lens. This might include digital cameras and mobile device cameras, such as phones and tablets. • Manual Focus allows the photographer to manually adjust and control the lens’ focus by hand, usually by turning the focus ring. Camera Type: Indicate whether the camera is digital or film. (The following Questions are for Unit 2 and 3 exhibitors only.) Did you manually adjust the aperture, shutter speed, or ISO? Indicate whether you adjusted these settings to capture the photo. Note: Regardless of whether or not you adjusted these settings manually, you must still identify the images specific F Stop, Shutter Sped, ISO, and Focal Length settings. “Auto” is not an acceptable answer. Digital cameras automatically record this information for each photo captured. This information, referred to as Metadata, is attached to the image file and goes with it when the image is downloaded to a computer for example. -
Session Outline: History of the Daguerreotype
Fundamentals of the Conservation of Photographs SESSION: History of the Daguerreotype INSTRUCTOR: Grant B. Romer SESSION OUTLINE ABSTRACT The daguerreotype process evolved out of the collaboration of Louis Jacques Mande Daguerre (1787- 1851) and Nicephore Niepce, which began in 1827. During their experiments to invent a commercially viable system of photography a number of photographic processes were evolved which contributed elements that led to the daguerreotype. Following Niepce’s death in 1833, Daguerre continued experimentation and discovered in 1835 the basic principle of the process. Later, investigation of the process by prominent scientists led to important understandings and improvements. By 1843 the process had reached technical perfection and remained the commercially dominant system of photography in the world until the mid-1850’s. The image quality of the fine daguerreotype set the photographic standard and the photographic industry was established around it. The standardized daguerreotype process after 1843 entailed seven essential steps: plate polishing, sensitization, camera exposure, development, fixation, gilding, and drying. The daguerreotype process is explored more fully in the Technical Note: Daguerreotype. The daguerreotype image is seen as a positive to full effect through a combination of the reflection the plate surface and the scattering of light by the imaging particles. Housings exist in great variety of style, usually following the fashion of miniature portrait presentation. The daguerreotype plate is extremely vulnerable to mechanical damage and the deteriorating influences of atmospheric pollutants. Hence, highly colored and obscuring corrosion films are commonly found on daguerreotypes. Many daguerreotypes have been damaged or destroyed by uninformed attempts to wipe these films away. -
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Information capacity: a measure of potential image quality of a digital camera Frédéric Cao 1, Frédéric Guichard, Hervé Hornung DxO Labs, 3 rue Nationale, 92100 Boulogne Billancourt, FRANCE ABSTRACT The aim of the paper is to define an objective measurement for evaluating the performance of a digital camera. The challenge is to mix different flaws involving geometry (as distortion or lateral chromatic aberrations), light (as luminance and color shading), or statistical phenomena (as noise). We introduce the concept of information capacity that accounts for all the main defects than can be observed in digital images, and that can be due either to the optics or to the sensor. The information capacity describes the potential of the camera to produce good images. In particular, digital processing can correct some flaws (like distortion). Our definition of information takes possible correction into account and the fact that processing can neither retrieve lost information nor create some. This paper extends some of our previous work where the information capacity was only defined for RAW sensors. The concept is extended for cameras with optical defects as distortion, lateral and longitudinal chromatic aberration or lens shading. Keywords: digital photography, image quality evaluation, optical aberration, information capacity, camera performance database 1. INTRODUCTION The evaluation of a digital camera is a key factor for customers, whether they are vendors or final customers. It relies on many different factors as the presence or not of some functionalities, ergonomic, price, or image quality. Each separate criterion is itself quite complex to evaluate, and depends on many different factors. The case of image quality is a good illustration of this topic. -
Seeing Like Your Camera ○ My List of Specific Videos I Recommend for Homework I.E
Accessing Lynda.com ● Free to Mason community ● Set your browser to lynda.gmu.edu ○ Log-in using your Mason ID and Password ● Playlists Seeing Like Your Camera ○ My list of specific videos I recommend for homework i.e. pre- and post-session viewing.. PART 2 - FALL 2016 ○ Clicking on the name of the video segment will bring you immediately to Lynda.com (or the login window) Stan Schretter ○ I recommend that you eventually watch the entire video class, since we will only use small segments of each video class [email protected] 1 2 Ways To Take This Course What Creates a Photograph ● Each class will cover on one or two topics in detail ● Light ○ Lynda.com videos cover a lot more material ○ I will email the video playlist and the my charts before each class ● Camera ● My Scale of Value ○ Maximum Benefit: Review Videos Before Class & Attend Lectures ● Composition & Practice after Each Class ○ Less Benefit: Do not look at the Videos; Attend Lectures and ● Camera Setup Practice after Each Class ○ Some Benefit: Look at Videos; Don’t attend Lectures ● Post Processing 3 4 This Course - “The Shot” This Course - “The Shot” ● Camera Setup ○ Exposure ● Light ■ “Proper” Light on the Sensor ■ Depth of Field ■ Stop or Show the Action ● Camera ○ Focus ○ Getting the Color Right ● Composition ■ White Balance ● Composition ● Camera Setup ○ Key Photographic Element(s) ○ Moving The Eye Through The Frame ■ Negative Space ● Post Processing ○ Perspective ○ Story 5 6 Outline of This Class Class Topics PART 1 - Summer 2016 PART 2 - Fall 2016 ● Topic 1 ○ Review of Part 1 ● Increasing Your Vision ● Brief Review of Part 1 ○ Shutter Speed, Aperture, ISO ○ Shutter Speed ● Seeing The Light ○ Composition ○ Aperture ○ Color, dynamic range, ● Topic 2 ○ ISO and White Balance histograms, backlighting, etc. -
Down and Dirty Camera Tricks Even for Your CELL PHONE
Down and Dirty Camera Tricks Even for Your CELL PHONE Educational Seminar GCSAA Presenter - John R. Johnson Creating Images That Count The often quoted Yogi said, “When you come to a Fork in the Road – Take it!” What he meant was . “When you have a Decision in Life – Make it.” Let’s Make Good Decisions with Our Cameras I Communicate With Images You’ve known me for Years. Good Photography Is How You Can Communicate This one is from the Media Moses Pointe – WA Which Is Better? Same Course, 100 yards away – Shot by a Pro Moses Pointe – WA Ten Tricks That Work . On Big Cameras Too. Note image to left is cell phone shot of me shooting in NM See, Even Pros Use Cell Phones So Let’s Get Started. I Have My EYE On YOU Photography Must-Haves Light Exposure Composition This is a Cell Phone Photograph #1 - Spectacular Light = Spectacular Photography Colbert Hills - KS Light from the side or slightly behind. Cell phones require tons of light, so be sure it is BRIGHT. Sunsets can’t hurt either. #2 – Make it Interesting Change your angle, go higher, go lower, look for the unusual. Resist the temptation to just stand and shoot. This is a Cell Phone Photograph Mt. Rainier Coming Home #2 – Make it Interesting Same trip, but I shot it from Space just before the Shuttle re-entry . OK, just kidding, but this is a real shot, on a flight so experiment and expand your vision. This is a Cell Phone Photograph #3 – Get Closer In This Case Lower Too Typically, the lens is wide angle, so things are too small, when you try to enlarge, they get blurry, so get closer to start. -
Ground-Based Photographic Monitoring
United States Department of Agriculture Ground-Based Forest Service Pacific Northwest Research Station Photographic General Technical Report PNW-GTR-503 Monitoring May 2001 Frederick C. Hall Author Frederick C. Hall is senior plant ecologist, U.S. Department of Agriculture, Forest Service, Pacific Northwest Region, Natural Resources, P.O. Box 3623, Portland, Oregon 97208-3623. Paper prepared in cooperation with the Pacific Northwest Region. Abstract Hall, Frederick C. 2001 Ground-based photographic monitoring. Gen. Tech. Rep. PNW-GTR-503. Portland, OR: U.S. Department of Agriculture, Forest Service, Pacific Northwest Research Station. 340 p. Land management professionals (foresters, wildlife biologists, range managers, and land managers such as ranchers and forest land owners) often have need to evaluate their management activities. Photographic monitoring is a fast, simple, and effective way to determine if changes made to an area have been successful. Ground-based photo monitoring means using photographs taken at a specific site to monitor conditions or change. It may be divided into two systems: (1) comparison photos, whereby a photograph is used to compare a known condition with field conditions to estimate some parameter of the field condition; and (2) repeat photo- graphs, whereby several pictures are taken of the same tract of ground over time to detect change. Comparison systems deal with fuel loading, herbage utilization, and public reaction to scenery. Repeat photography is discussed in relation to land- scape, remote, and site-specific systems. Critical attributes of repeat photography are (1) maps to find the sampling location and of the photo monitoring layout; (2) documentation of the monitoring system to include purpose, camera and film, w e a t h e r, season, sampling technique, and equipment; and (3) precise replication of photographs. -
Visual Mobile Communication Camera Phone Photo Messages As Ritual Communication and Mediated Presence Mikko Villi’S Background Is in Com- Munication Studies
mikko villi Visual mobile communication Camera phone photo messages as ritual communication and mediated presence Mikko Villi’s background is in com- munication studies. He has worked as a researcher at the University of Art and Design Helsinki, University of Tampere and University of Helsin- ki, where he has also held the position of university lecturer. Currently, he works as coordinator of educational operations at Aalto University. Villi has both researched and taught sub- jects related to mobile communica- tion, visual communication, social media, multi-channel publishing and media convergence. Visual mobile communication mikko villi Visual mobile communication Camera phone photo messages as ritual communication and mediated presence Aalto University School of Art and Design Publication series A 103 www.taik.fi/bookshop © Mikko Villi Graphic design: Laura Villi Original cover photo: Ville Karppanen !"#$ 978-952-60-0006-0 !""$ 0782-1832 Cover board: Ensocoat 250, g/m2 Paper: Munken Lynx 1.13, 120 g/m2 Typography: Chronicle Text G1 and Chronicle Text G2 Printed at %" Bookwell Ltd. Finland, Jyväskylä, 2010 Contents acknowledgements 9 1 introduction 13 2 Frame of research 17 2.1 Theoretical framework 19 2.1.1 Ritual communication 19 2.1.2 Mediated presence 21 2.2 Motivation and contribution of the study 24 2.3 Mobile communication as a field of research 27 2.4 Literature on photo messaging 30 2.5 The Arcada study 40 2.6 Outline of the study 45 3 Camera phone photography 49 3.1 The real camera and the spare camera 51 3.2 Networked photography -
Of-Device Finger Gestures
LensGesture: Augmenting Mobile Interactions with Back- of-Device Finger Gestures Xiang Xiao♦, Teng Han§, Jingtao Wang♦ ♦Department of Computer Science §Intelligent Systems Program University of Pittsburgh University of Pittsburgh 210 S Bouquet Street 210 S Bouquet Street Pittsburgh, PA 15260, USA Pittsburgh, PA 15260, USA {xiangxiao, jingtaow}@cs.pitt.edu [email protected] ABSTRACT becomes the only channel of input for mobile devices, leading to We present LensGesture, a pure software approach for the notorious "fat finger problem" [2, 22], the “occlusion augmenting mobile interactions with back-of-device finger problem” [2, 18], and the "reachability problem" [20]. In gestures. LensGesture detects full and partial occlusion as well as contrast, the more responsive, precise index finger remains idle on the dynamic swiping of fingers on the camera lens by analyzing the back of mobile devices throughout the interactions. Because image sequences captured by the built-in camera in real time. We of this, many compelling techniques for mobile devices, such as report the feasibility and implementation of LensGesture as well multi-touch, became challenging to perform in such a "situational as newly supported interactions. Through offline benchmarking impairment" [14] setting. and a 16-subject user study, we found that 1) LensGesture is easy Many new techniques have been proposed to address these to learn, intuitive to use, and can serve as an effective challenges, from adding new hardware [2, 15, 18, 19] and new supplemental input channel for today's smartphones; 2) input modality, to changing the default behavior of applications LensGesture can be detected reliably in real time; 3) LensGesture for certain tasks [22]. -
A Guide to Smartphone Astrophotography National Aeronautics and Space Administration
National Aeronautics and Space Administration A Guide to Smartphone Astrophotography National Aeronautics and Space Administration A Guide to Smartphone Astrophotography A Guide to Smartphone Astrophotography Dr. Sten Odenwald NASA Space Science Education Consortium Goddard Space Flight Center Greenbelt, Maryland Cover designs and editing by Abbey Interrante Cover illustrations Front: Aurora (Elizabeth Macdonald), moon (Spencer Collins), star trails (Donald Noor), Orion nebula (Christian Harris), solar eclipse (Christopher Jones), Milky Way (Shun-Chia Yang), satellite streaks (Stanislav Kaniansky),sunspot (Michael Seeboerger-Weichselbaum),sun dogs (Billy Heather). Back: Milky Way (Gabriel Clark) Two front cover designs are provided with this book. To conserve toner, begin document printing with the second cover. This product is supported by NASA under cooperative agreement number NNH15ZDA004C. [1] Table of Contents Introduction.................................................................................................................................................... 5 How to use this book ..................................................................................................................................... 9 1.0 Light Pollution ....................................................................................................................................... 12 2.0 Cameras ................................................................................................................................................