Media Kit 2020 Media Kit 2020
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
Annual Report 2018–2019 Artmuseum.Princeton.Edu
Image Credits Kristina Giasi 3, 13–15, 20, 23–26, 28, 31–38, 40, 45, 48–50, 77–81, 83–86, 88, 90–95, 97, 99 Emile Askey Cover, 1, 2, 5–8, 39, 41, 42, 44, 60, 62, 63, 65–67, 72 Lauren Larsen 11, 16, 22 Alan Huo 17 Ans Narwaz 18, 19, 89 Intersection 21 Greg Heins 29 Jeffrey Evans4, 10, 43, 47, 51 (detail), 53–57, 59, 61, 69, 73, 75 Ralph Koch 52 Christopher Gardner 58 James Prinz Photography 76 Cara Bramson 82, 87 Laura Pedrick 96, 98 Bruce M. White 74 Martin Senn 71 2 Keith Haring, American, 1958–1990. Dog, 1983. Enamel paint on incised wood. The Schorr Family Collection / © The Keith Haring Foundation 4 Frank Stella, American, born 1936. Had Gadya: Front Cover, 1984. Hand-coloring and hand-cut collage with lithograph, linocut, and screenprint. Collection of Preston H. Haskell, Class of 1960 / © 2017 Frank Stella / Artists Rights Society (ARS), New York 12 Paul Wyse, Canadian, born United States, born 1970, after a photograph by Timothy Greenfield-Sanders, American, born 1952. Toni Morrison (aka Chloe Anthony Wofford), 2017. Oil on canvas. Princeton University / © Paul Wyse 43 Sally Mann, American, born 1951. Under Blueberry Hill, 1991. Gelatin silver print. Museum purchase, Philip F. Maritz, Class of 1983, Photography Acquisitions Fund 2016-46 / © Sally Mann, Courtesy of Gagosian Gallery © Helen Frankenthaler Foundation 9, 46, 68, 70 © Taiye Idahor 47 © Titus Kaphar 58 © The Estate of Diane Arbus LLC 59 © Jeff Whetstone 61 © Vesna Pavlovic´ 62 © David Hockney 64 © The Henry Moore Foundation / Artists Rights Society (ARS), New York 65 © Mary Lee Bendolph / Artist Rights Society (ARS), New York 67 © Susan Point 69 © 1973 Charles White Archive 71 © Zilia Sánchez 73 The paper is Opus 100 lb. -
Depth of Field PDF Only
Depth of Field for Digital Images Robin D. Myers Better Light, Inc. In the days before digital images, before the advent of roll film, photography was accomplished with photosensitive emulsions spread on glass plates. After processing and drying the glass negative, it was contact printed onto photosensitive paper to produce the final print. The size of the final print was the same size as the negative. During this period some of the foundational work into the science of photography was performed. One of the concepts developed was the circle of confusion. Contact prints are usually small enough that they are normally viewed at a distance of approximately 250 millimeters (about 10 inches). At this distance the human eye can resolve a detail that occupies an angle of about 1 arc minute. The eye cannot see a difference between a blurred circle and a sharp edged circle that just fills this small angle at this viewing distance. The diameter of this circle is called the circle of confusion. Converting the diameter of this circle into a size measurement, we get about 0.1 millimeters. If we assume a standard print size of 8 by 10 inches (about 200 mm by 250 mm) and divide this by the circle of confusion then an 8x10 print would represent about 2000x2500 smallest discernible points. If these points are equated to their equivalence in digital pixels, then the resolution of a 8x10 print would be about 2000x2500 pixels or about 250 pixels per inch (100 pixels per centimeter). The circle of confusion used for 4x5 film has traditionally been that of a contact print viewed at the standard 250 mm viewing distance. -
{PDF} Minor White: Manifestations of the Spirit Pdf Free Download
MINOR WHITE: MANIFESTATIONS OF THE SPIRIT PDF, EPUB, EBOOK Paul Martineau | 200 pages | 08 Jul 2014 | Getty Trust Publications | 9781606063224 | English | Santa Monica CA, United States Minor White: Manifestations of the Spirit PDF Book He had them all read photographs, and the group that had completed the exercises came up with much more profound insights and reactions to the photographs. Some of the results are dark, moody, and romantic. The subtitle of your show is Manifestations of the Spirit. Although I cannot view this exhibition, I have seen the checklist of all the works in the exhibition. The only reason that I did not give it the top rating was that I thought it bordered on the hagiographic in several aspects of the description of his life and manner of working. Throughout his career, White sought to photograph things not only for what they are but also for what they may suggest, and his pictures teem with symbolic and metaphorical allusions. Paul Getty Museum in Los Angeles. Average rating 4. Inconspicuous at first, the photograph depicts two trees in a small secluded clearing, crusted with patches of dry moss, surrounded everywhere by dead leaves and so close as to be united at the base. Get The Deal. Search z. Nothing anyone can say can take away from the sheer simple pleasure of really looking at photographs by these two icons of the art form. Paul Martineau is associate curator in the Department of Photographs at the J. It also discusses his role as a teacher, and as the editor of Aperture magazine from its inception in through , and his relationships with other photographers of that era, including Alfred Stieglitz, Edward Weston, Paul Brandt, Dorothea Lange and Ansel Adams. -
Depth of Focus (DOF)
Erect Image Depth of Focus (DOF) unit: mm Also known as ‘depth of field’, this is the distance (measured in the An image in which the orientations of left, right, top, bottom and direction of the optical axis) between the two planes which define the moving directions are the same as those of a workpiece on the limits of acceptable image sharpness when the microscope is focused workstage. PG on an object. As the numerical aperture (NA) increases, the depth of 46 focus becomes shallower, as shown by the expression below: λ DOF = λ = 0.55µm is often used as the reference wavelength 2·(NA)2 Field number (FN), real field of view, and monitor display magnification unit: mm Example: For an M Plan Apo 100X lens (NA = 0.7) The depth of focus of this objective is The observation range of the sample surface is determined by the diameter of the eyepiece’s field stop. The value of this diameter in 0.55µm = 0.6µm 2 x 0.72 millimeters is called the field number (FN). In contrast, the real field of view is the range on the workpiece surface when actually magnified and observed with the objective lens. Bright-field Illumination and Dark-field Illumination The real field of view can be calculated with the following formula: In brightfield illumination a full cone of light is focused by the objective on the specimen surface. This is the normal mode of viewing with an (1) The range of the workpiece that can be observed with the optical microscope. With darkfield illumination, the inner area of the microscope (diameter) light cone is blocked so that the surface is only illuminated by light FN of eyepiece Real field of view = from an oblique angle. -
Oral History Interview with Jerome Liebling, 2010 Sept. 17
Oral history interview with Jerome Liebling, 2010 Sept. 17 Funding for this interview was provided by the Brown Foundation. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a recorded interview with Jerome Liebling on September 17, 2010. The interview took place in Amherst, Massachusetts, and was conducted by Robert Silberman for the Archives of American Art, Smithsonian Institution. The Archives of American Art has reviewed the transcript and has made corrections and emendations. This transcript has been lightly edited for readability by the Archives of American Art. The reader should bear in mind that they are reading a transcript of spoken, rather than written, prose. Interview ROBERT SILBERMAN: This is Robert Silberman interviewing Jerome Liebling at the artist's home in Amherst, Massachusetts on September 17th, 2010 for the Archives of American Art, Smithsonian Institution, card number one. Good morning, Jerry. Maybe we could begin by my asking you when and where were you born. JEROME LIEBLING: New York City, April 16th, 1924. New York City, of course, has many boroughs. I was born in Manhattan. In fact, I was born in Harlem. At the time, that's where my family lived. And soon moved to Brooklyn. ROBERT SILBERMAN: Could you describe your childhood and your family background a little? JEROME LIEBLING: Interesting, in contemplating your arrival and finding a form to talk about my childhood— [phone rings]—in contemplating my childhood, there are certain terms that I think are important and when I had learned about these terms, would help define my childhood. -
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 ................................................................................................................................................ -
Minor White Manifestations of the Spirit Paul Martineau
“Self-discovery through a camera? I am scared to look for fear of discovering how shallow my Self is! I will persist however . because the camera has its eye on the exterior world. Camera will lead my constant introspection back into the world. So camerawork will save my life.”—Minor White MINOR WHITE MANIFESTATIONS OF THE SPIRIT PAUL MARTINEAU GETTY PUBLICATIONS JULY 8, 2014 AN EXQUISTELY ILLUSTRATED TRIBUTE TO ONE OF THE MOST INFLUENTIAL PHOTOGRAPHERS OF THE TWENTIETH CENTURY ACCOMPANYING EXHIBITION AND FIRST MINOR WHITE SHOW IN 25 YEARS ON VIEW AT THE J. PAUL GETTY MUSEUM IN LOS ANGELES JULY 8 TO OCTOBER 19, 2014 Controversial, eccentric, and sometimes overlooked, Minor White (1908–1976) is one of the great photographers of the twentieth century, whose ideas and philosophies about the medium of photography have exerted a powerful influence on a generation of practitioners and still resonate today. Born and raised in Minneapolis, his photographic career began in 1938 in Portland, Oregon with assignments as a “creative photographer” for the Oregon Art Project, an outgrowth of the Works Progress Administration (WPA). After serving in World War II as a military intelligence officer, White studied art history at Columbia University in New York. It was during this period that White’s focus started to shift toward the metaphorical. He began to create images charged with symbolism and a critical aspect called “equivalency,” which referred to the invisible spiritual energy present in a photograph made visible to the viewer and was inspired by the work of Alfred Stieglitz. White’s belief in the spiritual and metaphysical qualities in photography, and in the camera as a tool for self-discovery, was crucial to his oeuvre. -
Samyang T-S 24Mm F/3.5 ED AS
GEAR GEAR ON TEST: Samyang T-S 24mm f/3.5 ED AS UMC As the appeal of tilt-shift lenses continues to broaden, Samyang has unveiled a 24mm perspective-control optic in a range of popular fittings – and at a price that’s considerably lower than rivals from Nikon and Canon WORDS TERRY HOPE raditionally, tilt-shift lenses have been seen as specialist products, aimed at architectural T photographers wanting to correct converging verticals and product photographers seeking to maximise depth-of-field. The high price of such lenses reflects the low numbers sold, as well as the precision nature of their design and construction. But despite this, the tilt-shift lens seems to be undergoing something of a resurgence in popularity. This increasing appeal isn’t because photographers are shooting more architecture or box shots. It’s more down to the popularity of miniaturisation effects in landscapes, where such a tiny part of the frame is in focus that it appears as though you are looking at a scale model, rather than the real thing. It’s an effect that many hobbyist DSLRs, CSCs and compacts can generate digitally, and it’s straightforward to create in Photoshop too, but these digital recreations are just approximations. To get the real thing you’ll need to shoot with a tilt-shift lens. Up until now that would cost you over £1500, and when you consider the number of assignments you might shoot in a year using a tilt-shift lens, that’s not great value for money. Things are set to change, though, because there’s The optical quality of the lens is very good, and is a new kid on the block in the shape of the Samyang T-S testament to the reputation that Samyang is rapidly 24mm f/3.5 ED AS UMC, which has a street price of less gaining in the optics market. -
Backlighting
Challenge #1 - Capture Light Bokeh Have you seen those beautiful little circles of colour and light in the background of photos? It’s called Bokeh and it comes from the Japanese word “boke” meaning blur. It’s so pretty and not only does it make a gorgeous backdrop for portraits, but it can be the subject in it’s own right too! It’s also one of the most fun aspects of learning photography, being able to capture your own lovely bokeh! And that’s what our first challenge is all about, Capturing Light Bokeh! And remember - just as I said in this video, the purpose of these challenges is NOT to take perfect photos the first time you try something new… it’s about looking for light, trying new techniques, and exploring your creativity to help you build your skills and motivate and inspire you. So lets have fun & I can’t wait to see your photos! Copyright 2017 - www.clicklovegrow.com How to Achieve Light Bokeh Light Bokeh is created when light reflects off, or through, a background; and is then captured with a wide open aperture of your lens. As light reflects differently off flat surfaces, you’re not likely to see this effect when using a plain wall, for example. Instead, you’ll see it when your background has a little texture, such as light reflecting off leaves in foliage of a garden, or wet grass… or when light is broken up when streaming through trees. Looking for Light One of the key take-aways for this challenge is to start paying attention to light & how you can capture it in photos… both to add interest and feeling to your portraits, but as a creative subject in it’s own right. -
Getty Publications Spring 2014 Getty
The J. Paul Getty Museum Getty Research Institute Getty Conservation Institute Getty Foundation Getty Publications Spring 2014 Getty Getty Publications Publications To order Connect with Us A look at the making of a modern American New INDIVIDUALS BOOKSTORES masterpiece and its restoration Visit your local bookstore or call: 800 621-2736 (U.S. and Canada) 800 223-3431 (North America) (44) 01273 603 717 (U.K. and Europe) Titles 310 440-7333 (International) Find us on Facebook www.getty.edu/publications www.facebook.com/GettyPublications [email protected] E-Newsletter Follow us on Twitter For information about Getty Publications and future titles, @GettyPubs sign up for Art Bound, our monthly electronic newsletter at www.getty.edu/artbound Follow us on Tumblr Jackson Pollock’s Mural www.gettypubs.tumblr.com The Transitional Moment Yvonne Szafran, Laura Rivers, Alan Phenix, Tom Learner, Ellen G. Landau, and Steve Martin Jackson Pollock's (1912–1956) first large-scale painting, Mural, in many ways represents the birth of Pollock, the legend. The controversial artist’s creation of this painting has been recounted in dozens of books and dramatized in the Oscar-winning film Pollock. Rumors—such as it was painted in one alcohol-fueled night and at first didn’t fit the intended space —abound. But never in doubt was that the creation of the Mobile App painting was pivotal, not only for Pollock but for the Abstract Expressionists who would follow his radical conception of art —“no limits, just edges.” Sound of One Hand, The J. Paul Getty Museum Highlights of the Collections Mural, painted in 1943, was Pollock’s first major commission. -
To Photographing the Planets, Stars, Nebulae, & Galaxies
Astrophotography Primer Your FREE Guide to photographing the planets, stars, nebulae, & galaxies. eeBook.inddBook.indd 1 33/30/11/30/11 33:01:01 PPMM Astrophotography Primer Akira Fujii Everyone loves to look at pictures of the universe beyond our planet — Astronomy Picture of the Day (apod.nasa.gov) is one of the most popular websites ever. And many people have probably wondered what it would take to capture photos like that with their own cameras. The good news is that astrophotography can be incredibly easy and inexpensive. Even point-and- shoot cameras and cell phones can capture breathtaking skyscapes, as long as you pick appropriate subjects. On the other hand, astrophotography can also be incredibly demanding. Close-ups of tiny, faint nebulae, and galaxies require expensive equipment and lots of time, patience, and skill. Between those extremes, there’s a huge amount that you can do with a digital SLR or a simple webcam. The key to astrophotography is to have realistic expectations, and to pick subjects that are appropriate to your equipment — and vice versa. To help you do that, we’ve collected four articles from the 2010 issue of SkyWatch, Sky & Telescope’s annual magazine. Every issue of SkyWatch includes a how-to guide to astrophotography and visual observing as well as a summary of the year’s best astronomical events. You can order the latest issue at SkyandTelescope.com/skywatch. In the last analysis, astrophotography is an art form. It requires the same skills as regular photography: visualization, planning, framing, experimentation, and a bit of luck. -
Aperture Digital Photography Fundamentals
Aperture Digital Photography Fundamentals K Apple Computer, Inc. © 2005 Apple Computer, Inc. All rights reserved. No part of this publication may be reproduced or transmitted for commercial purposes, such as selling copies of this publication or for providing paid for support services. Every effort has been made to ensure that the information in this manual is accurate. Apple is not responsible for printing or clerical errors. The Apple logo is a trademark of Apple Computer, Inc., registered in the U.S. and other countries. Use of the “keyboard” Apple logo (Option-Shift-K) for commercial purposes without the prior written consent of Apple may constitute trademark infringement and unfair competition in violation of federal and state laws. Apple, the Apple logo, Apple Cinema Display and ColorSync are trademarks of Apple Computer, Inc., registered in the U.S. and other countries. Aperture is a trademark of Apple Computer, Inc. 1 Contents Preface 5 An Introduction to Digital Photography Fundamentals Chapter 1 7 How Digital Cameras Capture Images 7 Types of Digital Cameras 8 Digital Single-Lens Reflex (DSLR) 9 Digital Rangefinder 11 Camera Components and Concepts 11 Lens 12 Understanding Lens Multiplication with DSLRs 14 Understanding Digital Zoom 14 Aperture 15 Understanding Lens Speed 16 Shutter 17 Using Reciprocity to Compose Your Image 17 Digital Image Sensor 20 Memory Card 20 External Flash 21 Understanding RAW, JPEG, and TIFF 21 RAW 21 Why Shoot RAW Files? 22 JPEG 22 TIFF 22 Shooting Tips 22 Reducing Camera Shake 23 Minimizing Red-Eye in Your Photos 25 Reducing Digital Noise Chapter 2 27 How Digital Images Are Displayed 27 The Human Eye’s Subjective View of Color 29 Understanding How the Eye Sees Light and Color 30 Sources of Light 30 The Color Temperature of Light 31 How White Balance Establishes Color Temperature 3 31 Measuring the Intensity of Light 32 Bracketing the Exposure of an Image 33 Understanding How a Digital Image Is Displayed 33 Additive vs.