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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. -
Push Processing
May 2002 APPLICATION SHEET PUSH PROCESSING INCREASING APPARENT FILM SPEED BY OVER-DEVELOPMENT All camera films have a basic speed, usually PUSH PROCESSING shown as an ISO rating on the packaging. This How well push processing works is much more gives you a measure of how sensitive the film is to dependent on the subject illumination than for light, but only when processed to ‘normal’ standard processing. The push processing contrast. If you expose the film at its rated speed development times for recommended meter settings and process it to normal contrast according to the given in ILFORD information for films and standard recommendations you will get the best chemicals are chosen to ensure that the maximum results for a wide range of conditions. level of detail is recorded under all conditions, and especially in very poor lighting. However, you cannot always use the rated exposure as the light level may be too low, or you However, in many situations where film is uprated, may need a high shutter speed and/or small the lighting is very unevenly distributed. In these aperture. In these cases, the solution is to uprate cases, you can usually improve the quality of your the film to a higher speed and push process, that final image by changing your exposing and is deliberately underexpose the film and extend the processing. If in doubt though, follow the development time to compensate for it. recommendations in ILFORD information for films and chemicals for the meter setting used. You can uprate many films by one or two stops. -
Photo Warehouse
Photo Warehouse FILM DEVELOPMENT CHART PUSH PROCESSING (B/W) 68° 68° 68° 68° 68° 68° 68° 68° D-76 or D-76 or Sensidol U60 F60 Ultrafine HC-110 T-Max These are general guidelines when no published development times are Ultrafine Ultrafine Powder 1:9 1:9 1:9 Liquid Dev. Dil. B Dev. Powder Dev. Dev. 1:1 1:4 available. To use this chart multiply the published time at recommended ASA by the factor in parenthesis (ie. If Tri-X rated at 400ASA is normally developed for 6 Ultrafine B&W 125 6-8 10 5 ½ 5 ½ 5 ½ 8 ½ 5 5 ½ minutes in a standard developer, then when Tri-X is pushed three stops to Ultrafine B&W 400 7 ½ 13 7 7 7 11 6 8 3200ASA development would be: 6 x 2 = 12 minutes). Please use these Ultramax T-Grain 400 6 10 9 9 9 12 ½ 5 8 recommendations as starting points only. In many cases these times will Ultrafine Plus B&W 100 9 10 11 11 11 12 8.5 8.5 prove excessive, but when all else fails they can be a good guideline. Please Ultrafine Plus B&W 400 8.5 9 10 10 10 8 10 7 note separate data for Tmax films. Ultrafine Xtreme 100 8 10 ½ 5 5 5 6 ½ 8 ½ 6 Ultrafine Xtreme 400 7 12 ½ 6 ½ 6 ½ 6 ½ 7 ½ 5 6 Standard Developer Agfa APX ISO 400 10 11 8 8 8 8 6 7 Celsius Fahrenheit Kodak Plus-X Pan ISO 125 5 ½ 8 ½ 5 ½ 5 ½ 5 ½ 7 3 ½ 5 ¾ 1 stop push = (x1.25) 2 stop push = (x1.5) Kodak T-Max 100 9 12 7 7 7 7 7 7 ½ 18 = 64.4 Kodak T-Max 400 8 12 ½ 6 ¾ 6 ¾ 6 ¾ 8 6 7 3 stop push = (x2.0) 19 = 66.2 Kodak T-Max 3200 14 -- 11 ½ 11 ½ 11 ½ -- 10 ½ 9 ½ (75°) Kodak Tri-X Pan ISO 400 6 ¾ 9 ¾ 9 ¼ 9 ¼ 9 ¼ 8 6 6 Compensating 20 = 68.0 Ilford Delta ISO 100 8 ½ 11 7 7 7 7 6 7 Developer 21 = 69.8 Ilford Delta ISO 400 9 ½ 14 7 ½ 7 ½ 7 ½ 8 7 ½ 6 ½ 1 stop push = (x1.4) 22 = 71.6 Ilford FP4 Plus 8 ½ 11 5 ½ 5 ½ 5 ½ 7 9 6 ½ 2 stop push = (x1.85) Ilford HP5 Plus 7 ½ 13 7 7 7 8 5 6 ½ 3 stop push = (x2.5) 23 = 73.4 24 = 75.2 These times are a guide. -
The Screen Shows Highly Saturated Colours, Is Tinted, Or Appears Yellowish, Reddish, Or Bluish
FAQ The screen shows highly saturated colours, is tinted, or appears yellowish, reddish, or bluish 1. The screen colour always seems too bright. Screens with a higher colour saturation rate display brighter colours. This is a normal occurrence. 2. The screen colour is distorted or tinted, appearing yellowish, reddish, or bluish at all times. a. Adjust the colour temperature as follows: Open Settings, search for and access Colour temperature or Colour mode & temperature, then set a colour temperature that is comfortable for you. b. Open Settings, search for and access Eye Comfort, then set a colour temperature that is comfortable for you. Eye Comfort mode effectively reduces blue light and adjusts the screen to display warmer colours, relieving eye fatigue and protecting your eyesight. When this mode is enabled, blue light will be filtered out and the screen will take on a yellowish or reddish tint. Enable or disable Natural tone mode according to your needs. c. It is recommended that you disable Colour correction in Settings. Colour correction mode is designed to make viewing the screen easier for users with colour vision impairments. Enabling this mode will result in a strong colour cast. d. Ensure that Colour inversion is disabled by going to Settings > Smart assistance > Accessibility > Colour inversion. (This feature is only available on EMUI 9.0 and later.) e. Ensure that Simulate colour space is disabled in Settings. If you can't find Profile GPU rendering, you may have deleted app data for Settings or hidden Developer options. In this case, open Settings, search for and access Build number, and touch Build number seven times in a row until You are now a developer! is displayed. -
Photoshop I Workbook
This workshop covers Photoshop CS4 – CC2014 essentials for photographers including: monitor calibration, Photoshop configuration, RAW workflow, colour correction, image repair, creating panoramas and more. Make your pictures look as good as you remember them! Robert Berdan © Science & Art Multimedia E-mail: [email protected] (403) 247-2457 Last Updated May 27, 2015 . Suitable for beginner to Intermediate level photographers and computer users. The workshop includes a CD with tutorial images and step by step video clips for self learning. These tutorials take approximately 6-12 hours to complete in class with an instructor. 1. Introduction and Objectives 1.1 Digital photography .………………………………………………………........... 3 2. Components of a Digital Darkroom 2.1 Computer minimum requirements for Photoshop…………………...… 4 2.2 Image Editing Software.………………………………………………………….. 4 2.3 Printers…………………………………………………………………………….. 5 2.4 Scanners …………………………………………..……………………………… 5 2.5 Colour Management.....…………………………………………………............. 5 2.6 Colour Space…………………………………………………………………….... 6 3. Calibrating Your Monitor 3.0 Types of monitors.......................................................................................... 7 3.1 Room Lighting …………………………………………………………………….. 7 3.2 Using a colour spectrophotometer and software to calibrate………………… 7 3.3 Photoshop CS4 colour configuration settings………………………………….. 8 4. Making a Test Print 4.1 How to calculate required file size to make specific sized prints …….…… 10 4.2 Setting the print resolution .……………………………………………………… -
Introduction
CINEMATOGRAPHY Mailing List the first 5 years Introduction This book consists of edited conversations between DP’s, Gaffer’s, their crew and equipment suppliers. As such it doesn’t have the same structure as a “normal” film reference book. Our aim is to promote the free exchange of ideas among fellow professionals, the cinematographer, their camera crew, manufacturer's, rental houses and related businesses. Kodak, Arri, Aaton, Panavision, Otto Nemenz, Clairmont, Optex, VFG, Schneider, Tiffen, Fuji, Panasonic, Thomson, K5600, BandPro, Lighttools, Cooke, Plus8, SLF, Atlab and Fujinon are among the companies represented. As we have grown, we have added lists for HD, AC's, Lighting, Post etc. expanding on the original professional cinematography list started in 1996. We started with one list and 70 members in 1996, we now have, In addition to the original list aimed soley at professional cameramen, lists for assistant cameramen, docco’s, indies, video and basic cinematography. These have memberships varying from around 1,200 to over 2,500 each. These pages cover the period November 1996 to November 2001. Join us and help expand the shared knowledge:- www.cinematography.net CML – The first 5 Years…………………………. Page 1 CINEMATOGRAPHY Mailing List the first 5 years Page 2 CINEMATOGRAPHY Mailing List the first 5 years Introduction................................................................ 1 Shooting at 25FPS in a 60Hz Environment.............. 7 Shooting at 30 FPS................................................... 17 3D Moving Stills...................................................... -
Certified Digital Designer Professional Certification Examination Review
Digital Imaging & Editing and Digital & General Photography Certified Digital Designer Professional Certification Examination Review Within this presentation – We will use specific names and terminologies. These will be related to specific products, software, brands and trade names. ADDA does not endorse any specific software or manufacturer. It is the sole decision of the individual to choose and purchase based on their personal preference and financial capabilities. the Examination Examination Contain at Total 325 Questions 200 Questions in Digital Image Creation and Editing Image Editing is applicable to all Areas related to Digital Graphics 125 Question in Photography Knowledge and History Photography is applicable to General Principles of Photography Does not cover Photography as a General Arts Program Examination is based on entry level intermediate employment knowledge Certain Processes may be omitted that are required to achieve an end result ADDA Professional Certification Series – Digital Imaging & Editing the Examination Knowledge of Graphic and Photography Acronyms Knowledge of Graphic Program Tool Symbols Some Knowledge of Photography Lighting Ability to do some basic Geometric Calculations Basic Knowledge of Graphic History & Theory Basic Knowledge of Digital & Standard Film Cameras Basic Knowledge of Camera Lens and Operation General Knowledge of Computer Operation Some Common Sense ADDA Professional Certification Series – Digital Imaging & Editing This is the Comprehensive Digital Imaging & Editing Certified Digital Designer Professional Certification Examination Review Within this presentation – We will use specific names and terminologies. These will be related to specific products, software, brands and trade names. ADDA does not endorse any specific software or manufacturer. It is the sole decision of the individual to choose and purchase based on their personal preference and financial capabilities. -
Mindful Photographer
Operating Manual for the Mindful Photographer Ed Heckerman Copyright © 2017 Cerritos College and Ed Heckerman 11110 Alondra Blvd., Norwalk, CA 90650 Second Edition, 2018 This interactive PDF was made in partial fulfillment for a sabbatical during the academic year 2016 - 2017. No part of the text of this book may be reporduced without permission from Cerritos College. All photographs were taken by Ed Heckerman and produced independently from sabbat- ical contract. Ed Heckerman maintains the copyright for all the photographs and edition changes. No images may be copied from this manual for any use without his consent. Contents Part 1 — Insights and Aspirations 1 contents page Introduction 1 What is Photography? 2 What is a Photograph? Motivations — Why Make Photographs? Photography and Mindfulness 6 Thoughts On Tradition ��������������������������������������������������������������������������12 Part 2 — Navigating Choices ������������������������������������������������������������� 14 Cameras Loading Your Camera Unloading Your Camera Manual Focus Autofocus Sensitivity and Resolution — ISO Controlling Exposure — Setting the Aperture and Shutter Speed Shutter Speed Coordinating Apertures and Shutter Speeds Exposure Metering Systems ��������������������������������������������������������������� 25 Full-frame Average Metering Center Weighted Metering Spot Metering Multi-Zone Metering Incident Metering -
PHOTOGRAPHY Film and Darkroom an INTRODUCTION to PHOTOGRAPHIC TECHNIQUE Elaine O’Neil
Tenth Edition A Short Course in PHOTOGRAPHY Film and Darkroom AN INTRODUCTION TO PHOTOGRAPHIC TECHNIQUE Elaine O’Neil Barbara London n Jim Stone Publisher: Roth Wilkofsky Cover Designer: Lumina Datamatics Editorial Assistant: Kaylee Navarra Cover Image: Ian van Coller Product Marketing Manager: Nicholas Bolt Manufacturing Buyer: Mary Ann Gloriande Executive Field Marketing Manager: Wendy Albert Printer/Binder: LSCC-Kendallville Managing Content Producer: Donna DeBenedictis Cover Printer: Phoenix Color Project Coordination, Text Design, and Electronic Page Makeup: SPi Global Acknowledgments of third-party content appear on the appropriate page in the text or on page 228, which constitutes an extension of this copyright page. Frontispiece: Elaine O’Neil: Arizona-Sonora Desert Museum, Tucson, Arizona, 1973. PEARSON and ALWAYS LEARNING are exclusive trademarks owned by Pearson Education, Inc. or its affiliates in the United States and/or other countries. Unless otherwise indicated herein, any third-party trademarks that may appear in this work are the property of their respective owners and any references to third-party trademarks, logos, or other trade dress are for demonstrative or descriptive purposes only. Such references are not intended to imply any sponsorship, endorsement, authorization, or promotion of Pearson’s prod- ucts by the owners of such marks, or any relationship between the owner and Pearson Education, Inc., or its affiliates, authors, licensees, or distributors. Library of Congress Cataloging-in-Publication Data London, Barbara | Stone, Jim A short course in photography : film and darkroom an introduction to photographic technique / Barbara London & Jim Stone. Tenth edition. | Hoboken, NJ : Pearson, 2018. | Includes bibliographical references and index. LCCN 2017047492| ISBN 9780134638850 | ISBN 0134638859 LCSH: Photography. -
Download/View PDF Readme
Version 2.0 JR Macros: Filter Gallery Introduction This macro pack adds a roster of completely non-destructive filter effects, similar to what you may find within ‘Filter Galleries’ from other image editing software. These macros utilise some of Affinity Photo’s unique functionality, such as live procedural texture programming, to apply these effects in a layer-based, non-destructive manner, avoiding the need to use Merge Down/Merge Visible which results in redundant pixel layers. The parameters of each filter effect are highly customisable, and in most cases you can change the strength of the effect simply by changing the opacity of either the group or the singular layer. Please note: most of these macros require you to be in an RGB colour format (8/16/32-bit). Using them with CMYK, LAB or Greyscale colour formats may cause unpredictable results, or the filter effects simply won’t work. Installation 1. Extractthe.afmacros file to a directory of your choice. 2. In Affinity Photo, you will need to expose theLibrary panel. To do this, go to View>Studio>Library. 3. Clickthe small icon atthetop right oftheLibrary panel and chooseImport Macros. 4. Navigate to the directory containing the.afmacros file and select it, then clickOpen (or double click the file). 5. TheLibrary panel will then be populated with the macros from that category. If you are installing any other macro packs, repeat the process for those categories. Tip: you can also drag-drop the .afmacros file onto a blank area of the app and it will immediately import and be shown on the Library panel. -
Hue and Saturation
Adjustments - Hue and Saturation Ken Fisher Adjustments - Hue and Saturation The 3 main attributes/components of colour are Hue, Saturation, and Luminance. 1. Hue is a single colour cast or colour name. Green is a hue, orange is a hue, and so on. There are an infinite number of hues … 2. Saturation is the intensity, purity or amount of a hue. 3. Luminance is the amount of perceived brightness of a colour. The colour black has no luminance, whereas the colour white has the highest luminance. The Hue / Saturation Adjustment Layer is used for colour correction. More specifically, it allows you to control Hue, Saturation and Luminance for each colour channel. Hue / Saturation is great for changing the characteristics of a particular colour, not your overall “global” colour. When you make changes to a particular Hue, none of the other colour in your image are affected. For instance, if the Reds in your image are too saturated, you would simply choose the “Red” Channel from the Drop-Down menu to desaturate your Reds to the desired level, without affecting any other colours in your image. Or let’s say that the Greens in your landscape shot are too Blue/Green: Choose the “Green”Channel from the Drop-Down menu, then change the Hue to bring your Greens back to a more realistic colour, such as Forest Green, again without affecting any other colours in your image. There are Four places you can access the Hue and Saturation Adjustment. 1. You can find it in the Image > Adjustments menu P2 Adjustments - Hue and Saturation 2) You can click on the “New Adjustment Layer” button at the bottom the Layers Panel 3) You can also go to the menu Layers >New Adjustment Layer and choose it from that menu. -
September 2019
photo & video Image 1: Opening the RAW image file in Adobe Photoshop Text and photos by Rico Besserdich When it comes to final editing of your digital underwater images, the white balance should be the first step of your digital post-production workflow. Always. What is white balance? Different light sources produce light with slightly different colour Adjusting tints. Think about sunlight, your camera’s strobe or underwater video lights, for example. By adjusting the white balance, we tell our cameras or imaging software which area of the photo White Balance is supposed to be white or neutral in Post-Production of Underwater Images grey. This step of editing removes colour casts, and as a result, displays your image with natural balance during post-production shooting in ambient light (using one should better not expect source. most macro shots) often require colours. requires a sufficient amount of no strobes or any other light to be able to restore colours When using underwater only minimal white balance What is important for light (colour information) to be sources other than sunlight). As of underwater images taken in strobes, it is a different story. adjustments—sometimes, none underwater photography is that existing in the (original) image. colours do fade away with the deeper waters (10m and more) Underwater shots that are entirely at all. However, the moment two a successful adjustment of white This is especially important when increasing depth of a photo dive, using sunlight as the only light lit by a strobe or flashgun (i.e. or more different light sources 83 X-RAY MAG : 93 : 2019 EDITORIAL FEATURES TRAVEL NEWS WRECKS EQUIPMENT BOOKS SCIENCE & ECOLOGY TECH EDUCATION PROFILES PHOTO & VIDEO PORTFOLIO photo & video Image 2: Importing the image file into the Lightroom catalog are present in one image is the moment a colour cast will show up.