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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. -
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TUTORIAL A CREATIVE JUMP-START | MIKE RODRIGUEZ 2015 | JULY A Creative Jump-Start: CREATING A LENS FLARE BRUSHMIKE RODRIGUEZ DOUBLE CreatingTHE aFUN! Simulated Double Exposure Image DIANA DAY SUBSCRIBER +SHOWCASE How to Identify Which Edits Your Photo Needs ERIN PELOQUIN JULY 2015 | 1 EDITOR’S NOTE | TABLE OF CONTENTS JULY | 2 015 VOLUME 12, NUMBER 5 From the Editor Hello, With summer in full swing, grab your camera and dive into the endless photo ops out there. From picnics with family and friend, to traveling to exotic locations, you EDITOR-IN-CHIEF Diana Kloskowski don't want to miss any opportunities. Make sure you have your camera, extra batteries, and memory cards handy while you’re on the lookout for great shots. When CREATIVE DIRECTOR Eduardo Lowe you get back to your computer, we hope you’ll find arti- cles and videos on the PET site to help you transform CONTRIBUTING WRITERS Mike Rodriguez your photos into cherished memories. Diana Day Till next time, Erin Peloquin Diana Kloskowski Editor-in-Chief PUBLISHED BY PHOTO ONE MEDIA, INC. 15333 SW Sequoia Parkway, Suite 150 Portland OR 97224 (503) 968-1813 PRESIDENT Craig Keudell Table of Contents GENERAL MANAGER Rick LePage WEB MARKETING MANAGER Thomas Penberthy 03 Creative Jump-Start: Creating a Lens Flare Brush WEB DEVELOPMENT Jim Mock Learn how to create and save a very versatile lens flare brush that can be used in a variety of projects. by Mike Rodriguez SUBSCRIBER SERVICE INFORMATION Double the Fun! How do I change my email or mailing address? Log on to the 09 Dive into your creative side, and create simulated double website (www.photoshopelementsuser.com). -
Owner's Manual
Owner’s Manual BL00005063-201 EN Introduction Thank you for your purchase of this product. Be sure that you have read this manual and understood its contents be- fore using the camera. Keep the manual where it will be read by all who use the product. For the Latest Information The latest versions of the manuals are available from: http://fujifilm-dsc.com/en/manual/ The site can be accessed not only from your computer but also from smartphones and tablets. It also contains information on the software license. For information on fi rmware updates, visit: https://fujifilm-x.com/support/download/firmware/ ii P Chapter Index Menu List iv 1 Before You Begin 1 2 First Steps 29 3 Basic Photography and Playback 45 4 Movie Recording and Playback 51 5 Taking Photographs 59 6 The Shooting Menus 101 7 Playback and the Playback Menu 179 8 The Setup Menus 205 9 Shortcuts 245 10 Peripherals and Optional Accessories 259 11 Connections 283 12 Technical Notes 301 iii Menu List Camera menu options are listed below. Shooting Menus Menu List Adjust settings when shooting photos or movies. N See page 101 for details. Photo Menus Items marked with an asterisk (“*”) are also found in the movie menus. Changes to these items in the photo menus are refl ected in the movie menus and vice versa. H IMAGE QUALITY SETTING P G AF/MF SETTING P IMAGE SIZE 102 FOCUS AREA 120 IMAGE QUALITY 103 AF MODE 121 RAW RECORDING 104 AF-C CUSTOM SETTINGS 122 FILM SIMULATION 104 STORE AF MODE BY ORIENTATION 126 1⁄3 1⁄3 MONOCHROMATIC COLOR 106 AF POINT DISPLAYyz 126 GRAIN EFFECT 106 NUMBER -
Photography for Archaeologists Part II : Artefact Recording
Photography for Archaeologists Part II : Artefact recording Guide 26 BAJR Practical Guide Series Lisa Jayne Fisher June 2009 © held by authors Photography for Archaeologists Contents Introduction 1 Coins 3 Flint 4 Pottery 5 Glass 6 Exposing correctly with a light-box 8 Colour temperature 9 Camera attachments: filters & close-ups 10 Use of scales 11 Bracketing 12 Building a copy stand 12 Further Reading & Other Notes 13 1 Photography for Archaeologists Introduction Artefact recording is another area in archaeology that is often overlooked and mis-represented. Not only does the archival quality of the resulting image matter but a simple understanding of lighting can achieve an enormous impact on the given textures, form and inherent detail of objects, giving valuable information which is often lost. Depending on the complexity of the artefacts’ shape, lighting can be experimented with by finding the best position and angle of the lights used for the job. It is often a laborious job to find the time to read up on the correct lighting positions for any given artefact. Often, it is far better to spend some time experimenting and observing, to find the best solution in any given situation. This will help you to judge artefacts by eye, leading to an implicit understanding of the qualities of light and should lead to sound practical experience, which should then become second nature. Simple lighting or copy stands can be cheaply purchased or rigs can be built out of simple materials utilizing desk lamps if your budget is limited. See final section on how to improvise with lighting. -
Special Techniques to Make Your Image Different
Special techniques to make your image different 1. Timelapse in one image During a photo tour in Yunnan province, China, we go shoot at a busy local market. I, however, like to experiment something new, presenting the hustle and bustle of the market photographically in a unique way: A time-lapse compressed into one image. To achieve the result, 2 approaches coming to my mind: Option 1. Using the in-camera Multiple exposure mode: Nikon cameras has multiple exposure functions for long time. After years of being ignored, it finally comes to Canon cameras starting 5D III, which I happen to use. This one is shot using "Average" mode in multiple exposure, I set total of 9 exposures, taking one shot every couple seconds, the exposure is automatically reduced, proportional to the number of shots taken, to avoid over-exposing common areas or overlapping bright areas. Where overlapping areas do occur, the final brightness level will be the same as the would have been in a single, properly- exposed shot. And, any non-overlapping areas will be darkened. The final combined image is automatically generated by the camera. The pro is that you can experiment a lot with this technique, simple and fast. The con however, is that you have no control on the resulting image at all. The camera has full control here. Option 2. Taking a lot shots and manipulate them in post processing: This is a hard way, but you have absolute control of the final image. It, however, is time-consuming and requires lots of fiddling with Photoshop. -
Multiple Exposure Notes
MULTIPLE EXPOSURE NOTES • Read your manual to determine what features your camera offers • Check the setting for default time out and adjust to your needs • Some camera will save each image in a multiple exposure series while others do not. • Check to see if Live View is available when shooting multiple exposures • Turn on your grid in the view finder and/or live view to help placement. • Shooting Menu o On – Series will continue multiple exposure mode until turned off o On – Single will turn off after one multiple exposure completed o Off - *Make sure you turn off when finished! o Number of shots varies from camera to camera with some restricted to 2 exposures and others up to 10 (or more) • Multiple Exposure Modes o Auto Gain: Turning off would require all adjustments to be done manually. When on, the camera will adjust the exposure of each frame automatically to try and avoid overexposure. o Add (Additive): The exposures are overlaid without any modification / adjustment o Average: This provides an automatic exposure control whereby each image is automatically underexposed to allow for a correctly exposed final image. o Lighten: The pixels in the images are compared and only brightest pixels are used to overlay. o Darken: The pixels in the images are compared and only the darkest are used to overlay. • Previsualize what you want as the end result and find compatible images. Use your grid or a part of your subject to help line up individual images. • Multiple Exposure Hints and Tips o Simple double exposure using Auto Gain is usually available in all camera with Multiple Exposure option. -
Photography 4X6” [40]
Photography Printing Paper Epson SHEET PAPER Scrapbook Semigloss Photo Quality Adhesive BORDERLESS PAPER All-Purpose Glossy 8.5x11” [20].....................14.95 8.3x11.7” [10]..................10.95 Photo Paper Glossy 8.5x11” [20].......................6.95 Scrapbook Premier Matte Photo Quality Glossy 4x6” [50]............................6.95 Inkjet Transparency 8.5x11” [20].....................14.95 8.5x11” [20].......................9.95 Photo Paper 8.5x11” [30].....................41.50 8.3x11.7” [20]..................10.95 Heavy Weight Matte 11.7x16.5” [20]................59.95 12x12” [10]......................14.95 Durabrite Glossy High Quality 13x19” [20]......................32.50 8x10” [50]..........................9.95 4x6” [50]............................8.49 8.5x11” [100].....................8.95 Dupont Proofing Glossy 11x14” [50]......................22.95 8.3x11.7” [20]....................9.95 8.3x11.7” [100]..................9.50 13x19” [100]..................249.95 Premium Glossy Premium Semigloss Photo Paper Glossy 4x6” [40]............................8.95 Premium Luster 8.3x11.7” [20]..................12.95 8.5x11” [20].......................8.50 4x6” [100]........................13.95 8.5x11” [50].....................29.95 11.7x16.5” [20]................41.95 8.5x11” [50].....................18.95 5x7” [20]............................6.95 Enhanced Matte 11.7x16.5” [50]................77.95 8.5x11” [100]...................25.95 8x10” [20]........................11.95 8.5x11” [50].....................13.95 13x19” [50]......................96.50 -
Fujinon30x SPECIFICATIONS
ACCESSORIES INCLUDED OPTIONAL ACCESSORIES Li-ion battery NP-W126 Remote release Shoe Mount Flash Protector Filter Battery charger BC-W126 Shoulder strap USB cable A/V cable Lens cap and Lens cap cord CD-ROM EF-42 Owner's manual Lens hood RR-80 EF-20 PRF-58 (Φ58mm) FUJINON30x SPECIFICATIONS 1 Number of eective pixels* 16.0 million pixels Manual Zoom × EXR Technology Image sensor 1/2-inch EXR CMOS with primary color lter Storage media Internal memory (approx. 25MB), SD/SDHC/SDXC (UHS-I) memory card*2 Lens Fujinon 30× optical zoom lens Responsive intuitive performance focal length f=4.2 - 126.0 mm, equivalent to 24 - 720 mm on a 35 mm camera full-aperture F2.8 (Wide) - F5.6 (Telephoto) constitution 11 groups 15 lenses Digital zoom Intelligent digital zoom approx. 2.0× (up to approx. 60×, with 30× optical zoom) Aperture F2.8 - F11 (Wide), F5.6 - F11 (Telephoto) 1/3 EV step Focus distance Normal: (Wide) Approx. 45 cm to innity / 1.4 ft. to innity, (Telephoto) Approx. 3.0 m to innity / 9.8 ft. to innity (from lens surface) Macro: (Wide) Approx. 7 cm - 3.0 m / 2.7 in. - 9.8 ft., (Telephoto) Approx. 2.0 m - 5.0 m / 6.5 ft. - 16.4 ft. Super Macro: Approx. 1 cm - 1.0 m / 0.4 in. - 3.2 ft. Sensitivity Auto, Equivalent to ISO 100/200/400/800/1600/3200/6400*/12800* (Standard Output Sensitivity) *ISO6400: Image size M or lower, ISO12800: Image size S Image stabilizer CMOS shift type Electronic viewnder 0.26-inch, Approx. -
Nature Photographers Online Magazine
First Impressions - Fuji Velvia 100 Text and photography Copyright Guy Tal All rights reserved. Most film photographers will tell you there are ups and downs to every emulsion on the market. With so many uses and characteristics, there is almost an art to matching the right film to the right situation. Most of us narrow our selection to one or two that, once we are familiar with, provide consistent and predictable results within their limitations. My own two films of choice these past years have been FujiFilm's Velvia 50, and Provia 100F. I will use one or the other depending on the contrast range of a given scene, whether or not long exposure is needed, the quality of light, and other considerations. Yet, in some situations, I struggle with tough choices – Velvia's palette vs. Provia's latitude, Velvia's exaggerated contrast vs. Provia's tendency to produce color casts, etc. The recent introduction of FujiFilm's Velvia 100F was preceded by a lot of exciting rumors – fine grain, rich palette, and extra color correction layers. Once I was able to get a hold of Fuji's technical data sheet for the new film things got even more exciting – claims of improved reciprocity characteristics allowing for exposure times up to a full minute with no need for either color correction or exposure compensation, extremely fine grain to match Provia 100F and excellent resolving power to match the older Velvia. Issues of color, contrast, grain, speed, color casts, reciprocity, and resolving power are just a few of the things a film photographer may consider when deciding on the "right" emulsion for a given scene. -
Ultra-Short Throw Projector “FUJIFILM PROJECTOR Z8000” Wins The
Ultra-short throw projector “FUJIFILM PROJECTOR Z8000” wins the highest-ranked “Best of the Best Award” -Fujifilm sets its highest record with 29 products winning the internationally prestigious Red Dot Design Award -In recognition of beautiful appearance and design to achieve outstanding functionality and performance in products of various business fields TOKYO, April 13, 2021 – FUJIFILM Corporation (President: Kenji Sukeno) is pleased to announce that 29 of its products in various business fields including the “instax” series of instant cameras and the “X” and “GFX” series of digital cameras, have been awarded the “Red Dot Design Award: Product Design 2021,” a product design award program organized by Design Zentrum Nordrhein Westfalen based in Essen, Germany. Of the products that have received the honor, the ultra-short throw projector “FUJIFILM PROJECTOR Z8000” has received the program's highest-ranked “Best of the Best Award.” Fujifilm sets its highest record with 29 products winning the prestigious program in recognition of not only the products’ beautiful appearance but also their design that achieves outstanding functionality and performance. The Red Dot Design Award is an international design award program launched in 1955. The award is extended to products with excellence in design innovation, functionality, ergonomics, ecological compatibility and durability. It is one of the world's three most prestigious design awards, alongside Germany's “iF design award” and the United States' “the International Design Excellence Awards (IDEA)”. This time, there were around 7,800 entries from around the world to be judged by internationally-renowned design experts. In developing all of its products and services, Fujifilm not only pursues product functionality and performance, but also engages in design development that leverages superior functionality and performance. -
BROCHURE Number of Effective Pixels 51.4 Million Pixels Touch Screen Color LCD Monitor (Approx
Specication Model name FUJIFILM GFX 50S LCD monitor 3.2 inch, Aspect Ratio 4:3, Approx. 2,360K-dot Tilt-Type, Medium Format Mirrorless Digital Camera SYSTEM BROCHURE Number of effective pixels 51.4 million pixels Touch Screen Color LCD Monitor (Approx. 100% Coverage) Image sensor 43.8mm×32.9mm Bayer array with primary color filter Sub LCD monitor 1.28 inch, Aspect Ratio 1:1, 128×128-dot Monochrome LCD Monitor Sensor Cleaning System Ultra Sonic Vibration Movie recording [Full HD (1920×1080)] 29.97p / 25p / 24p / 23.98p 36Mbps up to Approx. 30min. Storage media SD Card (-2GB) / SDHC Card (-32GB) / SDXC Card (-256GB) UHS-I / UHS-II*1 [HD (1280×720)] 29.97p / 25p / 24p / 23.98p 18Mbps up to Approx. 30min. File format Still Image JPEG (Exif Ver.2.3)*2, RAW : 14bit RAW (RAF original format), Photography functions Color, Sharpness, Highlight tone, Shadow tone, Noise reduction, Long exposure NR, RAW+JPEG, 8-bit TIFF (In-camera Raw Conversion Only) Lens Modulation Optimizer, Color space, Pixel mapping, Select custom setting, Movie MOV (MPEG-4 AVC / H.264 Edit/Save custom setting, Store AF mode by orientation, Rapid AF, AF point display, Pre-AF, Audio : Linear PCM / Stereo sound 48KHz sampling) Face/Eye detection AF, AF+MF, Focus peak highlight, Focus check, Interlock spot AE & focus area, Number of [L] <4:3> 8256×6192 <3:2> 8256×5504 <16:9> 8256×4640 <1:1> 6192×6192 Instant AF setting (AF-S/AF-C), Depth-of-field scale, Rlease/Focus priority, Touch screen mode, recorded pixels <65:24> 8256×3048 <5:4> 7744×6192 <7:6> 7232×6192 Mount adapter setting, -
L E N S E S & a C C E S S O R I
P. 4 P. 5 P. 6 P. 7 Scott Grant / Hai Tre / Jeff Carter / Gathot Subroto / Canada Vietnam UK Indonesia P. 8 P. 9 P.10 Matt Hart / Bert Stephani / Max De Martino / UK Belgium Italy P.11 P.12 P.13 P.14 Omar Z Robles / Simone Sbarglia / Pål Laukli / LS Trung / U.S.A. Italy Norway Vietnam P.15 P.16 P.17 Yonghui Wang / Supalerk Fabian De Backer / China Narubetkrausee / Belgium Thailand P.18 P.19 P.20 Taeyoung An / Joe Ng / Chalit Padoongcheep / Korea Canada Thailand P.21 P.21 Torwong Salwala / Giulia Torra / Thailand Italy Cover_P.2-3 Jonas Dyhr Rask / Denmark Specifications are subject to change without notice. LENSES & ACCESSORIES For more information, please visit our website: http://www.http://fujifilm-x.com/en/accessories/ c 2016 FUJIFILM Corporation P2-3/P36 The vision of the X Series, the choice for X Series owners A collection of creativity-oriented lenses, which complement the X-Trans CMOS sensor perfectly and eliminate the low-pass filter for ultimate sharpness. X Mount Lenses _ P.4-21 Accessories _ P.23-29 Technology _ P.30-33 Specifications _ P.34-35 2 3 P4-5/P36 XF14mmF2.8 R XF16mmF1.4 R WR X-T2 : F11 1/4 sec. ISO200 Scott Grant / Canada High resolving power across the frame from the centre to the edges. This ultra-wide-angle lens, which has a diagonal angle of view greater than 90°, produces extraordinary images. Distortion has been kept to a measured value of zero, with sharpness right across the frame, even when the subject is near the edges.