DOCSLIB.ORG

The PHSC E-MAIL Volume 15-11, Supplement to Photographic Canadiana, April 2016 the Photographic Historical Society of Canada

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The PHSC E-MAIL Volume 15-11, Supplement to Photographic Canadiana, April 2016 the Photographic Historical Society of Canada THIS NEWSLETTER CONTAINS 11 pages - SCROLL DOWN FOR MORE The PHSC E-MAIL Volume 15-11, Supplement to Photographic Canadiana, April 2016 The Photographic Historical Society of Canada April 20, 2016 - Our Annual General Meeting and: NOT A MEMBER OF THE PHSC? THEN JOIN CANADA’S BEST PHOTO HISTORY SOCIETY. A GREAT Tom Bochsler: BARGAIN FOR MEETINGS, AUCTIONS, FAIRS, AND PUBLICATIONS – ONLY Remember to Remember $35.00. JOIN UP ON THE WEB AT WWW.PHSC.CA - PAYPAL ACCEPTED Our European War Memorials and Cemeteries This month we will have the pleasure of hosting PHSC Monthly Meetings photographer Tom Bochsler. are held on the third Wednesday from September to June in the Gold Room, Tom is a retired industrial photographer who of Memorial Hall in the basement of celebrated a half century in photography in the North York Central Library, 5120 Yonge St., North York, Ontario. 2006, and is author of the book “The Art of The meeting officially begins at 8:00 Industry." This time out, in memory of those p.m. but is preceded by a Buy & Sell souls who served Canada in two world wars in and social gathering from 7:00 p.m. onwards. For information contact the Europe, Tom will present and discuss his tour PHSC at [email protected] of the memorials and cemeteries of Europe as illustrated by his personal photographs. Programming Schedule: Free Admission - Open to the Public April 20, 2016 - Photographer Tom Bochsler on his Wednesday, April 20th, 2016 - Doors open at 7:00 photographic visit to European war Presentation at 8:00 PM cemeteries and memorials, plus Gold Room, Memorial Hall, North York Public Library Annual General Meeting 5120 Yonge St., North York, ON. May 18, 2016 Indoor Access From North York Centre Subway Station, Line 1 - Lorne Shields will present 3-D Bicycling & Cycling imagery taken Check out the TVO interview with Tom Bochsler - click below: from Stereoviews of the 1860-70s era. tvo.org June 15, 2016 - Robert C. Lansdale: 40th Anniversary of the CN Tower's Completion - A Visual Tour Coming Up in May! Offer your suggestions and fresh ideas for programs at [email protected]. The PHSC Spring Photographica Fair DON’T MISS ANY OF THE 10 INTERESTING PROGRAMS FOR THIS YEAR THE BIG ONE JOIN THE PHSC TODAY May 29th, 2016, 10:00 AM - 3:00 PM AND RECEIVE A DVD WITH 40 at the YEARS OF PHOTOGRAPHIC CANADIANA IN PDF FORMAT Trident Hall www.phsc.ca 145 Evans Ave, Etobicoke, M8Z 5X8 email: [email protected] South side of Evans Ave. - Just East of corner Evans & Islington FREE PARKING at the hall and across the street at the Brewery! Robert A. Carter – Webmaster TTC 37 Islington or 15 Evans Bus David Bridge - Editor Admission $7.00 - Students free with ID THE PHSC E-MAIL 1 VOL. 15-11 April 2016 .. .. Toronto Notes Reported by Mark Singer Elizabeth Larew on the Berenice Abbott Collection the emulsion lifting or frilling heady Paris days. Included were from the support. Others had David Sarnoff, Peggy chips, broken pieces or fissures Guggenheim, Eugene Atget, on the plate itself. All the plates and James Joyce. were scanned, listed and Following the portraits, Ms re-housed in individual pH Larew went into the details of neutral folders carefully made by assessing the collection, Ms Larew. preserving it for future archival The contact prints and use and digitizing the glass negatives in boxes presented a plates. We saw how carefully challenge from the beginning. she packaged each glass plate As received by Ryerson, the using custom made envelopes. Abbott frond was clearly not This was especially noted in the properly organized and way she handled the few preserved. To step up to the damaged plates. Each task ahead, Ms Larew first did a photograph, negative, and survey of literature on Berenice material included in the fond was Photo by Robert Lansdale Abbott, followed by some history lovingly documented in detail in Elizabeth Larew on the use and importance of an Excel spreadsheet (the glass glass plate negatives. She plate portraits can be viewed on Our March speaker was Elizabeth discovered the importance of the Commerce Graphics Larew. She presented a synopsis Abbott’s Paris portrait plates, the website). of her MA FPPCM thesis on the deterioration of the glass plates Ms Larew’s thesis was Berenice Abbott collection of and the means to protect them, re-formatted and presented in glass negatives held by Ryerson and the way to document and issue 41-1 of the PHSC journal University. Ms Larew is currently preserve the collection. Photographic Canadiana in a Collections Cataloger at the Abbott was born in the States considerable detail. Ms Larew Princeton University Art Museum. in 1898. Like many of her concludes her thesis with the She was jointly awarded the countrymen, she moved to Paris observation, “Now that Paris PHSC thesis prize in 2015. in 1921. Her first and biggest Portraits series is accessible, When Ms Larew first saw influence in photography was research can continue to Ryerson’s Abbott collection, it Man Ray. She signed on with progress." was in six bankers’ boxes. The him in 1923 as a darkroom It was a fascinating and collection consisted of 3,833 assistant. Man Ray taught her detailed look into the process of contact prints and 6,985 from the ground up. Later, Abbott preserving photographic history. negatives. Of the negatives, 347 was to write, “I took to were glass plates including the photography like a duck to 321 which comprised the Paris water." Realizing Abbott’s portrait series on which Ms blossoming abilities, Man Ray Larew concentrated her thesis. allowed her to use his portrait Almost a century old, most of the studio, even influencing her style glass plates were in surprisingly of photographs - simple with good condition. Only forty-seven little adornment, and taken at were badly damaged and had to eye level. be re-housed in special Ms Larew showed a few of enclosures. Some of the the glass plate portraits Abbott damaged plates suffered from took of famous people in those John Morden and Ashley Cook present Elizabeth with the PHSC thesis award THE PHSC E-MAIL 2 VOL. 15-11 April 2016 .. .. Ed Warner & Light From the Big Spring PHSC Auction Our 2016 special events started out this month with a well-attended consignment auction at the Royal Canadian Legion in Long Branch. With Clint Hryhorijiw putting in another stellar performance as auc- tioneer, a wide variety of photographic equipment and images changed hands to the delight of sellers and buyers. The auction progressed quickly through over 200 lots of fine cameras, not so fine cameras, studio flash equipment and backdrops, collectors ephem- era, tintypes and ambrotypes. We'd like to thank our all-volunteer staff who looked after the money, recorded bids, set up the AV equipment, kept records and ran the items to the successful bidders, and to the Legion for their hospitality. While you wait for your next chance to attend our auc- tion in the fall, why not come to our Spring Fair camera show, A.K.A. the Big One! Nicole Kantymir and a big camera PHOTOGRAPHS BY ROBERT LANSDALE The usual big crowd at the Legion Leica goodies Oscar Li with whatsis You need a card to bid More good loot for Lincoln The BIG Linhof tripod Inspection as lots arrive Careful inspection of lots for consignment Fancy stuff at the front counter Lots of studio lighting THE PHSC E-MAIL 3 VOL. 15-11 April 2016 .. .. WORLDWIDE PINHOLE PHOTOGRAPHY DAY IS APRIL 24th 2016 Terry Wedge, the first editor of Photographica Canadiana is interested in the creative aspects of pinhole photography. He alerts us to the Worldwide Pinhole Photography event to be staged on April 24, 2016. You can find the rules on the official web site at http://pinholeday.org/participate/ After processing your image submit it to the web site. It is a privilege to have Terry back on our pages.– editor Terry Wedge by Terry Wedge Another possibil- ity with digital is tak- Pinhole photography ing a photo on silver comes back periodically. based printing But this time the self-con- paper, developing sciously artsy folks are the resulting nega- taking bad pinhole photos tive, and scanning and calling it art - like a lot and reversing the of images done with Holga result. Again there and Lomo cameras/lenses. are digital possibili- If you like light leaks then ties for post pro- it’s all wonderful. cessing, including And a number of pho- contrast and bright- tography teachers are ness adjustments. showing adults and kids It’s another option how to have fun making and than printing through developing pinhole pictures PHOTO BY TERRY WEDGE the texture of a with a variety of improvised paper negative, and containers for cameras makes big enlarge- using photographic chemis- ments possible try - film or paper. One might [there’s lots of mega- look at this as a form of “edutainment." They are using pixels in an 8x10]. However, this requires allowing for Pringles chip cans, cookie tins, 35mm film tins, home- reciprocity failure, which can be done through trial and made boxes etc. etc. The possibility is endless. error. With paper in a large format film back, one can make a rough exposure estimate, and then pull the Pinholers are crying the blues about Quaker Oats dark slide out in increments bracketing at different abandoning the round cardboard oat boxes used for exposures and finding what works. No need to find the one of the 1974 cameras. There must be other articles detailed tech data on the paper or accurately measure that tell how to build an oat box camera.
Load more

Recommended publications
  • Breaking Down the “Cosine Fourth Power Law”
    Breaking Down The “Cosine Fourth Power Law” By Ronian Siew, inopticalsolutions.com Why are the corners of the field of view in the image captured by a camera lens usually darker than the center? For one thing, camera lenses by design often introduce “vignetting” into the image, which is the deliberate clipping of rays at the corners of the field of view in order to cut away excessive lens aberrations. But, it is also known that corner areas in an image can get dark even without vignetting, due in part to the so-called “cosine fourth power law.” 1 According to this “law,” when a lens projects the image of a uniform source onto a screen, in the absence of vignetting, the illumination flux density (i.e., the optical power per unit area) across the screen from the center to the edge varies according to the fourth power of the cosine of the angle between the optic axis and the oblique ray striking the screen. Actually, optical designers know this “law” does not apply generally to all lens conditions.2 – 10 Fundamental principles of optical radiative flux transfer in lens systems allow one to tune the illumination distribution across the image by varying lens design characteristics. In this article, we take a tour into the fascinating physics governing the illumination of images in lens systems. Relative Illumination In Lens Systems In lens design, one characterizes the illumination distribution across the screen where the image resides in terms of a quantity known as the lens’ relative illumination — the ratio of the irradiance (i.e., the power per unit area) at any off-axis position of the image to the irradiance at the center of the image.
    [Show full text]
  • 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.
    [Show full text]
  • Elements of Screenology: Toward an Archaeology of the Screen 2006
    Repositorium für die Medienwissenschaft Erkki Huhtamo Elements of screenology: Toward an Archaeology of the Screen 2006 https://doi.org/10.25969/mediarep/1958 Veröffentlichungsversion / published version Zeitschriftenartikel / journal article Empfohlene Zitierung / Suggested Citation: Huhtamo, Erkki: Elements of screenology: Toward an Archaeology of the Screen. In: Navigationen - Zeitschrift für Medien- und Kulturwissenschaften, Jg. 6 (2006), Nr. 2, S. 31–64. DOI: https://doi.org/10.25969/mediarep/1958. Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Deposit-Lizenz (Keine This document is made available under a Deposit License (No Weiterverbreitung - keine Bearbeitung) zur Verfügung gestellt. Redistribution - no modifications). We grant a non-exclusive, Gewährt wird ein nicht exklusives, nicht übertragbares, non-transferable, individual, and limited right for using this persönliches und beschränktes Recht auf Nutzung dieses document. This document is solely intended for your personal, Dokuments. Dieses Dokument ist ausschließlich für non-commercial use. All copies of this documents must retain den persönlichen, nicht-kommerziellen Gebrauch bestimmt. all copyright information and other information regarding legal Auf sämtlichen Kopien dieses Dokuments müssen alle protection. You are not allowed to alter this document in any Urheberrechtshinweise und sonstigen Hinweise auf gesetzlichen way, to copy it for public or commercial purposes, to exhibit the Schutz beibehalten werden. Sie dürfen dieses Dokument document in public, to perform, distribute, or otherwise use the nicht in irgendeiner Weise abändern, noch dürfen Sie document in public. dieses Dokument für öffentliche oder kommerzielle Zwecke By using this particular document, you accept the conditions of vervielfältigen, öffentlich ausstellen, aufführen, vertreiben oder use stated above. anderweitig nutzen. Mit der Verwendung dieses Dokuments erkennen Sie die Nutzungsbedingungen an.
    [Show full text]
  • 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.
    [Show full text]
  • Panoramas Shoot with the Camera Positioned Vertically As This Will Give the Photo Merging Software More Wriggle-Room in Merging the Images
    P a n o r a m a s What is a Panorama? A panoramic photo covers a larger field of view than a “normal” photograph. In general if the aspect ratio is 2 to 1 or greater then it’s classified as a panoramic photo. This sample is about 3 times wider than tall, an aspect ratio of 3 to 1. What is a Panorama? A panorama is not limited to horizontal shots only. Vertical images are also an option. How is a Panorama Made? Panoramic photos are created by taking a series of overlapping photos and merging them together using software. Why Not Just Crop a Photo? • Making a panorama by cropping deletes a lot of data from the image. • That’s not a problem if you are just going to view it in a small format or at a low resolution. • However, if you want to print the image in a large format the loss of data will limit the size and quality that can be made. Get a Really Wide Angle Lens? • A wide-angle lens still may not be wide enough to capture the whole scene in a single shot. Sometime you just can’t get back far enough. • Photos taken with a wide-angle lens can exhibit undesirable lens distortion. • Lens cost, an auto focus 14mm f/2.8 lens can set you back $1,800 plus. What Lens to Use? • A standard lens works very well for taking panoramic photos. • You get minimal lens distortion, resulting in more realistic panoramic photos. • Choose a lens or focal length on a zoom lens of between 35mm and 80mm.
    [Show full text]
  • Depth-Aware Blending of Smoothed Images for Bokeh Effect Generation
    1 Depth-aware Blending of Smoothed Images for Bokeh Effect Generation Saikat Duttaa,∗∗ aIndian Institute of Technology Madras, Chennai, PIN-600036, India ABSTRACT Bokeh effect is used in photography to capture images where the closer objects look sharp and every- thing else stays out-of-focus. Bokeh photos are generally captured using Single Lens Reflex cameras using shallow depth-of-field. Most of the modern smartphones can take bokeh images by leveraging dual rear cameras or a good auto-focus hardware. However, for smartphones with single-rear camera without a good auto-focus hardware, we have to rely on software to generate bokeh images. This kind of system is also useful to generate bokeh effect in already captured images. In this paper, an end-to-end deep learning framework is proposed to generate high-quality bokeh effect from images. The original image and different versions of smoothed images are blended to generate Bokeh effect with the help of a monocular depth estimation network. The proposed approach is compared against a saliency detection based baseline and a number of approaches proposed in AIM 2019 Challenge on Bokeh Effect Synthesis. Extensive experiments are shown in order to understand different parts of the proposed algorithm. The network is lightweight and can process an HD image in 0.03 seconds. This approach ranked second in AIM 2019 Bokeh effect challenge-Perceptual Track. 1. Introduction tant problem in Computer Vision and has gained attention re- cently. Most of the existing approaches(Shen et al., 2016; Wad- Depth-of-field effect or Bokeh effect is often used in photog- hwa et al., 2018; Xu et al., 2018) work on human portraits by raphy to generate aesthetic pictures.
    [Show full text]
  • DEPTH of FIELD CHEAT SHEET What Is Depth of Field? the Depth of Field (DOF) Is the Area of a Scene That Appears Sharp in the Image
    Ms. Brown Photography One DEPTH OF FIELD CHEAT SHEET What is Depth of Field? The depth of field (DOF) is the area of a scene that appears sharp in the image. DOF refers to the zone of focus in a photograph or the distance between the closest and furthest parts of the picture that are reasonably sharp. Depth of field is determined by three main attributes: 1) The APERTURE (size of the opening) 2) The SHUTTER SPEED (time of the exposure) 3) DISTANCE from the subject being photographed 4) SHALLOW and GREAT Depth of Field Explained Shallow Depth of Field: In shallow depth of field, the main subject is emphasized by making all other elements out of focus. (Foreground or background is purposely blurry) Aperture: The larger the aperture, the shallower the depth of field. Distance: The closer you are to the subject matter, the shallower the depth of field. ***You cannot achieve shallow depth of field with excessive bright light. This means no bright sunlight pictures for shallow depth of field because you can’t open the aperture wide enough in bright light.*** SHALLOW DOF STEPS: 1. Set your camera to a small f/stop number such as f/2-f/5.6. 2. GET CLOSE to your subject (between 2-5 feet away). 3. Don’t put the subject too close to its background; the farther away the subject is from its background the better. 4. Set your camera for the correct exposure by adjusting only the shutter speed (aperture is already set). 5. Find the best composition, focus the lens of your camera and take your picture.
    [Show full text]
  • Sample Manuscript Showing Specifications and Style
    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.
    [Show full text]
  • Chapter 3 (Aberrations)
    Chapter 3 Aberrations 3.1 Introduction In Chap. 2 we discussed the image-forming characteristics of optical systems, but we limited our consideration to an infinitesimal thread- like region about the optical axis called the paraxial region. In this chapter we will consider, in general terms, the behavior of lenses with finite apertures and fields of view. It has been pointed out that well- corrected optical systems behave nearly according to the rules of paraxial imagery given in Chap. 2. This is another way of stating that a lens without aberrations forms an image of the size and in the loca- tion given by the equations for the paraxial or first-order region. We shall measure the aberrations by the amount by which rays miss the paraxial image point. It can be seen that aberrations may be determined by calculating the location of the paraxial image of an object point and then tracing a large number of rays (by the exact trigonometrical ray-tracing equa- tions of Chap. 10) to determine the amounts by which the rays depart from the paraxial image point. Stated this baldly, the mathematical determination of the aberrations of a lens which covered any reason- able field at a real aperture would seem a formidable task, involving an almost infinite amount of labor. However, by classifying the various types of image faults and by understanding the behavior of each type, the work of determining the aberrations of a lens system can be sim- plified greatly, since only a few rays need be traced to evaluate each aberration; thus the problem assumes more manageable proportions.
    [Show full text]
  • Section 10 Vignetting Vignetting the Stop Determines Determines the Stop the Size of the Bundle of Rays That Propagates On-Axis an the System for Through Object
    10-1 I and Instrumentation Design Optical OPTI-502 © Copyright 2019 John E. Greivenkamp E. John 2019 © Copyright Section 10 Vignetting 10-2 I and Instrumentation Design Optical OPTI-502 Vignetting Greivenkamp E. John 2019 © Copyright On-Axis The stop determines the size of Ray Aperture the bundle of rays that propagates Bundle through the system for an on-axis object. As the object height increases, z one of the other apertures in the system (such as a lens clear aperture) may limit part or all of Stop the bundle of rays. This is known as vignetting. Vignetted Off-Axis Ray Rays Bundle z Stop Aperture 10-3 I and Instrumentation Design Optical OPTI-502 Ray Bundle – On-Axis Greivenkamp E. John 2018 © Copyright The ray bundle for an on-axis object is a rotationally-symmetric spindle made up of sections of right circular cones. Each cone section is defined by the pupil and the object or image point in that optical space. The individual cone sections match up at the surfaces and elements. Stop Pupil y y y z y = 0 At any z, the cross section of the bundle is circular, and the radius of the bundle is the marginal ray value. The ray bundle is centered on the optical axis. 10-4 I and Instrumentation Design Optical OPTI-502 Ray Bundle – Off Axis Greivenkamp E. John 2019 © Copyright For an off-axis object point, the ray bundle skews, and is comprised of sections of skew circular cones which are still defined by the pupil and object or image point in that optical space.
    [Show full text]
  • Colour Relationships Using Traditional, Analogue and Digital Technology
    Colour Relationships Using Traditional, Analogue and Digital Technology Peter Burke Skills Victoria (TAFE)/Italy (Veneto) ISS Institute Fellowship Fellowship funded by Skills Victoria, Department of Innovation, Industry and Regional Development, Victorian Government ISS Institute Inc MAY 2011 © ISS Institute T 03 9347 4583 Level 1 F 03 9348 1474 189 Faraday Street [email protected] Carlton Vic E AUSTRALIA 3053 W www.issinstitute.org.au Published by International Specialised Skills Institute, Melbourne Extract published on www.issinstitute.org.au © Copyright ISS Institute May 2011 This publication is copyright. No part may be reproduced by any process except in accordance with the provisions of the Copyright Act 1968. Whilst this report has been accepted by ISS Institute, ISS Institute cannot provide expert peer review of the report, and except as may be required by law no responsibility can be accepted by ISS Institute for the content of the report or any links therein, or omissions, typographical, print or photographic errors, or inaccuracies that may occur after publication or otherwise. ISS Institute do not accept responsibility for the consequences of any action taken or omitted to be taken by any person as a consequence of anything contained in, or omitted from, this report. Executive Summary This Fellowship study explored the use of analogue and digital technologies to create colour surfaces and sound experiences. The research focused on art and design activities that combine traditional analogue techniques (such as drawing or painting) with print and electronic media (from simple LED lighting to large-scale video projections on buildings). The Fellow’s rich and varied self-directed research was centred in Venice, Italy, with visits to France, Sweden, Scotland and the Netherlands to attend large public events such as the Biennale de Venezia and the Edinburgh Festival, and more intimate moments where one-on-one interviews were conducted with renown artists in their studios.
    [Show full text]
  • Dof 4.0 – a Depth of Field Calculator
    DoF 4.0 – A Depth of Field Calculator Last updated: 8-Mar-2021 Introduction When you focus a camera lens at some distance and take a photograph, the further subjects are from the focus point, the blurrier they look. Depth of field is the range of subject distances that are acceptably sharp. It varies with aperture and focal length, distance at which the lens is focused, and the circle of confusion – a measure of how much blurring is acceptable in a sharp image. The tricky part is defining what acceptable means. Sharpness is not an inherent quality as it depends heavily on the magnification at which an image is viewed. When viewed from the same distance, a smaller version of the same image will look sharper than a larger one. Similarly, an image that looks sharp as a 4x6" print may look decidedly less so at 16x20". All other things being equal, the range of in-focus distances increases with shorter lens focal lengths, smaller apertures, the farther away you focus, and the larger the circle of confusion. Conversely, longer lenses, wider apertures, closer focus, and a smaller circle of confusion make for a narrower depth of field. Sometimes focus blur is undesirable, and sometimes it’s an intentional creative choice. Either way, you need to understand depth of field to achieve predictable results. What is DoF? DoF is an advanced depth of field calculator available for both Windows and Android. What DoF Does Even if your camera has a depth of field preview button, the viewfinder image is just too small to judge critical sharpness.
    [Show full text]