DOCSLIB.ORG

Quick Start Guide

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Quick Start Guide EXPRESSDIGITAL “photography inspired solutions” QUICK START GUIDE 1.15.2008 v2 Copyright 1994-2008 ExpressDigital Inc. 5001 Plaza on the Lake, Suite 302 Austin, Texas 78746 All Rights Reserved. QUICK START GUIDE For General Technical Questions or Support: Call 1-888-508-3443 Our normal business hours are Monday-Friday, 8 a.m. to 8 p.m., U.S. Central Time, excluding major holidays. If all representatives are busy, please leave a message and one of our technical support representatives will call you back as soon as possible, always within four hours (during normal business hours). Emergency messages can be left after normal business hours and will be returned as soon as possible by an on-call representative. For General Information and Updates: Visit WWW.EXPRESSDIGITAL.COM For Shipping: ExpressDigital, Inc. Attn: Operations Manager 5001 Plaza on the Lake, Suite 302 Austin, Texas 78746 2 QUICK START GUIDE Table of Contents TABLE OF CONTENTS......................................................................................................................................................................................3 GETTING STARTED...........................................................................................................................................................................................5 OPERATING REQUIREMENTS................................................................................................................................................................................6 Before Installation...........................................................................................................................................................................................7 Installing Darkroom Professional Edition......................................................................................................................................................7 Connecting Printers And Cameras ...............................................................................................................................................................10 Running Darkroom Professional ..................................................................................................................................................................10 SETTING UP .......................................................................................................................................................................................................12 APPLICATION OPTIONS ......................................................................................................................................................................................12 Local Settings ................................................................................................................................................................................................12 Shared Settings ..............................................................................................................................................................................................13 General Settings ............................................................................................................................................................................................13 Workflow Settings..........................................................................................................................................................................................15 Preview Settings ............................................................................................................................................................................................15 Update Settings..............................................................................................................................................................................................16 Slideshow Settings .........................................................................................................................................................................................16 APPLICATION USERS..........................................................................................................................................................................................17 CAPTURE OPTIONS.............................................................................................................................................................................................17 Tethered Capture...........................................................................................................................................................................................17 Import Options...............................................................................................................................................................................................17 FTP Camera ..................................................................................................................................................................................................18 FULFILLMENT OPTIONS .....................................................................................................................................................................................18 NETWORK OPTIONS ...........................................................................................................................................................................................18 PHOTOGRAPHER INFO ........................................................................................................................................................................................19 Customizing Your Internet Storefront ...........................................................................................................................................................19 PRODUCTS AND SERVICES .................................................................................................................................................................................20 Package Groups ............................................................................................................................................................................................20 Photo Services ...............................................................................................................................................................................................22 Discount Groups............................................................................................................................................................................................22 Shipping Groups............................................................................................................................................................................................22 Border Templates ..........................................................................................................................................................................................22 PRINTER OPTIONS ..............................................................................................................................................................................................23 REPORTS.............................................................................................................................................................................................................24 SYSTEM INFORMATION ......................................................................................................................................................................................25 WEBSITES...........................................................................................................................................................................................................25 HELP...................................................................................................................................................................................................................25 DARKROOM PROFESSIONAL BASICS.......................................................................................................................................................26 TAKING PHOTOS ................................................................................................................................................................................................26 MANAGING PHOTOS...........................................................................................................................................................................................26 ORDERING AND PRINTING PACKAGES...............................................................................................................................................................27 DARKROOM PROFESSIONAL TOUR .........................................................................................................................................................28 PHOTO LIBRARY ................................................................................................................................................................................................28 Photo Library Tree........................................................................................................................................................................................29
Load more

Recommended publications
  • 17. Display and Illumination of Color and B&W Prints
    575 The Permanence and Care of Color Photographs Chapter 17 17. Display and Illumination of Color and B&W Prints The Alarming Light-Induced Image Discoloration and Base Cracking of B&W RC Prints on Long-Term Display Those serving the needs of collections being as for how much image fading and staining can be toler- heavily used for exhibition face a serious di- ated. As discussed in Chapter 7, valuable color prints should lemma. On one hand, they are chronicling, aid- be monitored with a densitometer, and visually significant ing and abetting in the systematic destruction changes in color balance, overall density, and minimum of the photographs they are charged to protect density stain levels should not be permitted to take place. by supporting reprehensible exhibition prac- Display of color prints is inherently detrimental to them, tices. On the other hand, they largely owe their but avoiding display runs counter to the reasons most pho- existence to those very exhibition programs. tographs are made and frequently conflicts with the pur- . The current exhibition vogue amounts to poses for which most individuals and museums collect prints. a systematic program of accelerating the deg- radation of our most valued and important pho- The Expendable or Replaceable Color Print tographs. The practice can and must be changed. No doubt there will be many who will claim that If a color print has no lasting value — or if it can be such an assessment is too extreme and that replaced with a new print after the original has deterio- the problem is being exaggerated.
    [Show full text]
  • ART-191 / Darkroom Photography
    Course Name: Darkroom Photography Instructor Name: Course Number: ART-191 Course Department: Humanities Course Term: Last Revised by Department: April 2021 Total Semester Hour(s) Credit: 1 Total Contact Hours per Semester: Lecture: Lab: 30 Clinical: Internship/Practicum: Catalog Description: This course covers basic darkroom concepts and procedures. Students will learn to shoot with 35mm film cameras, develop roll film, make enlargements, and create full-sized negatives for contact processes. Students will learn to apply basic design elements and principles to their photographs. Via self- and class critiques, students will evaluate their own work and that of their peers. Required participation in the college photography show. This course will allow students to find new forms of self-expression, both in visual career fields and on a personal level. Pre-requisite: ART-184 Credit for Prior Learning: There are no Credit for Prior Learning opportunities for this course. Textbook(s) Required: Access Code: Required Materials: Suggested Materials: Course Fees: $35 Institutional Outcomes: Critical Thinking: The ability to dissect a multitude of incoming information, sorting the pertinent from the irrelevant, in order to analyze, evaluate, synthesize, or apply the information to a defendable conclusion. Effective Communication: Information, thoughts, feelings, attitudes, or beliefs transferred either verbally or nonverbally through a medium in which the intended meaning is clearly and correctly understood by the recipient with the expectation of feedback. Personal Responsibility: Initiative to consistently meet or exceed stated expectations over time. Department Outcomes: A. Students will analyze diverse perspectives in arts and humanities. B. Students will examine cultural similarities and differences relevant to arts and humanities.
    [Show full text]
  • Darkroom Fog Test - Intraoral
    Minnesota Department of Health Radiation Control, X-ray Unit Dental Darkroom Fog Test - Intraoral Equipment needed • Timer • Coin • Unexposed Intraoral Film Packet (Fastest film in use) Procedure Turn off Safelights In the totally darkened darkroom or inside the glove box of the processor, remove the film from the film holder and place it on the counter. Place the coin on the film. Turn on safelights. Let film sit for 2 minutes, which is the nationally recognized standard. Change your position in the darkroom so as not to block any light from the film. Process the film. Because your eyes have now partially adapted to the dark (about 5 minutes) look for light leaks around the door, and around ceiling fixtures and vents. Evaluate the film. If the outline of the coin is visible, a fog problem exists that needs to be corrected. Date film(s) and record results. Radiation Control, X-ray Unit 625 North Robert Street PO Box 64497 St. Paul, Minnesota 55164-0497 651-201-4545 www.health.state.mn.us/xray [email protected] Determining where fog is from Run another fog test, this time leaving the safelights off. If the fog is reduced, you have a safelight problem. If the fog is not reduced, there is probably a white light problem. Some possible sources of safelight fog The bulb or filter may give off the correct color spectrum for the film being used. The bulb may not be the correct wattage for the distance to the work surface. A 15-watt bulb should be four feet or more from the surface.
    [Show full text]
  • Darkroom Lighting Basics
    Darkroom Lighting Basics Requirements: 7. “White Light” and clean-up lighting systems have 1. Darkroom lighting for each film product follows failsafe procedures to avoid accidentally fogging safelight “Darkroom Recommendations” in unprocessed film. published product technical data. When a mix of product types is used in a particular area, the 8. Machine film sensors are appropriate for the film most conservative (least chance of fogging) product being handled. lighting recommendation should be used. 9. Laboratory runs periodic checks of darkroom 2. Use of “task lighting” (light on only while lighting systems to verify that film is not being performing specific task) and “guide lighting” fogged under any normal operating condition. A (e.g., LED strip lighting outlining walkways and check should be done anytime darkroom lighting objects) is preferred to overall illumination (e.g., is changed or if light leaks are suspected. yellow sodium vapor room illumination). Darkroom lighting should not shine directly on unprocessed film, except as required for safety. Examples: 1. Unprocessed camera films should be handled in 3. Machine control, computer, and data entry total darkness. For safety, very dim green guide systems should use designed “task lighting” lighting (LED strip lights) may be used to outline concepts to minimize product exposure. walkways, walls, and darkroom hazards. Safe task lighting may be used for reading labels or 4. Use of hand-held “safelights” are discouraged data entry. In no case should light shine on the except for emergency use. film itself (even after dark accommodation, you should not be able to see the film itself with any 5.
    [Show full text]
  • GRAFLEX EN LA RG - 0 R- PR I NT ER Important Features of the GRAFLEX ENLARG - OR - PRINTER
    NATIONAL SERlfSJI GRAFLEX EN LA RG - 0 R- PR I NT ER Important Features of the GRAFLEX ENLARG - OR - PRINTER ENLARG-OR- PRINTER as natur­ ally appeals to the owner of an elabor­ ately equipped darkroom as it does to the newcomer. Its features supplement other apparatus-supplant less effec­ tive methods and practices. Here are a part of them: 117idt Range-for en­ larging accepts all negatives from 35 mm. to zU" x 3 Uti sections of 4" x 5" negatives. Regular top takes up to 8" x 10" paper" for contact printing or enlarging. An accessory extension top provides for contact prints or enlarge­ ments to I I" x 14". Unlimited large sizes are easily made. Interchangeable lens board permits use of owner's camera lens of proper focal length. Accessory lenses are available. Ground Glass Focusing-an exclusive ENLARG­ OR - PRINTER feature. Strip film holders as well as a book-type holder for cut films. Masking Blades are scaled and adjustable-hold the "negative flat for contact printing. Tilting Top-for correcting or creating distortion. With top tilted, the platen plate glass serves as retouching desk. Illumination varied by controlled light. Readily portable, self-contained, sturdily and precision built. GRAFLEX ENLARG-OR-PRINTER PRICES For those about to equip a dark- • • 'IIIIIl. ENLARG-OR -PRINTER, ~::-~~:~:tu~~~l:: d~~~::s:ar~f • • ~ complete except for lens, limitations of space-the ENLARG- • Is but_._ ..... __ ._._ ....... $87.50 OR-PRINTER is made to order! The Accessory Extension Strip Film Holder lop for llx14 prints or Apartment dweller or estate owner , ' enlargements, is .....
    [Show full text]
  • Download Product Catalog
    PHOTOGRAPHIC EQUIPMENT Developing excellence for over 65 years 150 Years of Manufacturing Excellence The Charles Beseler Company was founded in 1869 as a manufacturer of a variety of products including inhalers, magic lanterns with oil lamps and stereopticons. By 1943 the company had become an innovative audio-visual company serving the military and education markets. In 1953, Beseler entered the amateur and professional photography fields with the development of the 45 Series Enlarger and other darkroom products. Today, the Charles Beseler Company continues to be the leading supplier of photographic darkroom equipment for the educational market. Proudly made in the USA, at a modern manufacturing facility in Stroudsburg, Pennsylvania, Beseler’s line of high-quality photographic equipment continues to withstand the test of time and remains the industry standard for professionals and amateurs alike. beseler.com NEW PRODUCT DESIGN AND INNOVATION. A BESELER TRADITION. Our team of experts is constantly working on engineering and manufacturing new products to meet your most challenging photographic needs. Check back on our website to discover the very latest Beseler products, parts and accessories in the coming months! From enlargers and light sources to copy stands and easels, Beseler offers the highest quality photographic equipment, all backed by an experienced sales and service team. See why photographers have trusted our products for generations. ENLARGERS 2-3 LIGHT SOURCES 4-5 EASELS 6 COPY STANDS 7 ACCESSORIES AND REPLACEMENT PARTS 8-9 800.237.3537 • beseler.com 1 ENLARGERS 23C III-XL Enlargers All 23C III-XL enlargers are built around the extra long and rigid twin girder construction which helps reduce vibrations while allowing print sizes larger than 16” x20” on the baseboard.
    [Show full text]
  • Cyanotype Process 15
    CYANOTYPE Dusan C. Stulik | Art Kaplan The Atlas of Analytical Signatures of Photographic Processes Atlas of The © 2013 J. Paul Getty Trust. All rights reserved. The Getty Conservation Institute works internationally to advance conservation practice in the visual arts—broadly interpreted to include objects, collections, architecture, and sites. The GCI serves the conservation community through scientific research, education and training, model field projects, and the dissemination of the results of both its own work and the work of others in the field. In all its endeavors, the GCI focuses on the creation and delivery of knowledge that will benefit the professionals and organizations responsible for the conservation of the world’s cultural heritage. The Getty Conservation Institute 1200 Getty Center Drive, Suite 700 Los Angeles, CA 90049-1684 United States Telephone: 310 440-7325 Fax: 310 440-7702 Email: [email protected] www.getty.edu/conservation The Atlas of Analytical Signatures of Photographic Processes is intended for practicing photograph conservators and curators of collections who may need to identify more unusual photographs. The Atlas also aids individuals studying a photographer’s darkroom techniques or changes in these techniques brought on by new or different photographic technologies or by the outside influence of other photographers. For a complete list of photographic processes available as part of the Atlas and for more information on the Getty Conservation Institute’s research on the conservation of photographic materials, visit the GCI’s website at getty.edu/conservation. ISBN number: 978-1-937433-08-6 (online resource) Front cover: Cyanotype photograph, 1909. Photographer unknown. Every effort has been made to contact the copyright holders of the photographs and illustrations in this work to obtain permission to publish.
    [Show full text]
  • Photogram Test Strip.Cdr
    Goal: Familiarize yourself with the enlarger and timer. Learn to expose in increments to make a test strip. Process the paper in photo chemistry. Black White Gray The building blocks of photographic images Photographic paper is coated with a thin emulsion Equipment: containing a form of silver that is sensitive to light. If 1)Darkroom with amber safelights. it is exposed to light it will get darker. If this paper is 2)Light Source - enlarger with lens protected from light, it will not change color. 3) Cardboard If it is exposed to light and treated with a developing 4) Sink with trays for developing paper solution, the paper will go solid black. 5) Running water for washing prints This paper is sensitized in a way that protects it from Supplies: amber colored light so it can be handled for short 1) Photographic paper periods under "safelight" conditions. 2) Chemistry (developer, Stop, Fix) If the paper is exposed to small amounts of light for brief periods of time, different shades of gray can be Test strip - the fundamental way to determine proper produced. This is the basis of photographic printing. exposure. Negatives made in a camera are used to make "continuous toned photographs" usually consisting of Components of photographic exposure~ Black, White and various shades of Gray. 1)The amount of light 2) The length of time the paper is exposed to the light This exercise has you use an enlarger without a negative as a light source to experiment with gray For this exercise- scales and create multi-toned designs on photo Raise the enlarger about 24 inches, set the timer to two paper.
    [Show full text]
  • Darkroom Photography Priscilla Smith Taylor 008, 022
    Art 281 Darkroom Photography Priscilla Smith Taylor 008, 022 2018 Spring Semester (2183) Smith,Priscilla A MW 3:35PM - 6:05PM TYG008 (3 credit hours) Explores the concepts and tools of black & white photography while studying photographic movements such as conceptual photography, portraiture, landscape, social documentary, and the manipulated image. Includes analog camera, flash, and darkroom techniques. Class meets in TYG008 – Lab. TYG022 - Lecture Description This course is designed for the student with no background in photography. You will learn everything you need to know to correctly expose, and process black and white film and print & present black and white photographs. You will learn about varieties of light, exposures, films, papers, and some simple print manipulation techniques. Beyond the basic technical material, the use of photography to make personal, meaningful statements or explorations and practice in the verbalization of those is an integral part of this course and a significant aspect of your success in this study. Participation: This course is a sequential experience. Projects are organized in sequences of lectures, demonstrations and hands-on exercises that build on the one before. Each of the graded projects is presented as a thought experiment for you to solve using the given technical and conceptual skills. Projects end with a critique of your best solutions. Prepare for it with a thoughtful description of your intentions, discoveries and results, good and not so good. Late work can’t be discussed because it’s not there. Incomplete work is better than no work, so put any work you’ve done up for review and discussion.
    [Show full text]
  • Photographic Printing Enlarger
    Photographic printing From Wikipedia, the free encyclopedia Photographic printing is the process of producing a final image on paper for viewing, using chemically sensitized paper. The paper is exposed to a photographic negative, a positive transparency (or slide), or a digital image file projected using an enlarger or digital exposure unit such as a LightJet printer. Alternatively, the negative or transparency may be placed atop the paper and directly exposed, creating a contact print. Photographs are more commonly printed on plain paper, for example by a color printer, but this is not considered "photographic printing". Following exposure, the paper is processed to reveal and make permanent the latent image. Printing on black-and-white paper The process consists of four major steps, performed in a photographic darkroom or within an automated photo printing machine. These steps are: Exposure of the image onto the sensitized paper using a contact printer or enlarger; Processing of the latent image using the following chemical process: o Development of the exposed image reduces the silver halide in the latent image to metallic silver; o Stopping development by neutralising, diluting or removing the developing chemicals; o Fixing the image by dissolving undeveloped silver halide from the light-sensitive emulsion: o Washing thoroughly to remove processing chemicals protects the finished print from fading and deterioration. Optionally, after fixing, the print is treated with a hypo clearing agent to ensure complete removal of the fixer, which would otherwise compromise the long term stability of the image. Prints can be chemically toned or hand coloured after processing.[ Enlarger From Wikipedia, the free encyclopedia An enlarger is a specialized transparency projector used to produce photographic prints from film or glass negatives using the gelatin silver process, or from transparencies.
    [Show full text]
  • Gallery Guide
    PERCEPTION OF TIME January 12 – February 15, 2019 About the Exhibition “Time is a fairly common theme for artists, even if only on a subconscious level. With this exhibition we are trying to tap into the various directions artists go when using time as a starting point. Some of the directions explored in this show include the use of time as a device for measurement, an investigation of nostalgia and personal remembrance, and how the passage of time affects our own relationship to time itself.” — Bradley Butler, gallery director and curator How do we define the present? What is our relation to the past or the future? Perception of Time explores these questions and takes a thoughtful look at the notion of time. Work in the exhibition includes paintings, prints, artist books, found object sculpture, photography, and ceramics. Featuring the work of: • Carol Acquilano • Jim Garmhausen • Sue Leopard • Richard Margolis • Nick Marshall • Nancy Wiley • Beckett Wood Exhibition Dates: January 12 – February 15, 2019 Opening Reception: Saturday, January 12, 4–7 p.m. Carol Acquilano “Watercolors from Linwood. In this place I am witness to a succession of blossoming things, an orchestra that performs to the sun and the moon, to the wind and the bees. Rushing towards a full flowering or the stout skeletal remains, this is how painting days are at Linwood Gardens. Lee Gratwick is the master conductor and seemingly has arranged her plantings for artists to take in. The gardens and grounds were first arranged over one hundred years ago and have been carefully tended. Their original structured design has relaxed into a casual and enchanting sequence of outdoor rooms.
    [Show full text]
  • Photography in Criminal Investigations Charles Calvin Scott
    Journal of Criminal Law and Criminology Volume 29 Article 7 Issue 3 September-October Fall 1938 Photography in Criminal Investigations Charles Calvin Scott Follow this and additional works at: https://scholarlycommons.law.northwestern.edu/jclc Part of the Criminal Law Commons, Criminology Commons, and the Criminology and Criminal Justice Commons Recommended Citation Charles Calvin Scott, Photography in Criminal Investigations, 29 Am. Inst. Crim. L. & Criminology 383 (1938-1939) This Criminology is brought to you for free and open access by Northwestern University School of Law Scholarly Commons. It has been accepted for inclusion in Journal of Criminal Law and Criminology by an authorized editor of Northwestern University School of Law Scholarly Commons. AMERICAN JOURNAL OF POLICE SCIENCE Editor: FRED E. INBAU (Director, Chicago Police Scientific Crime Detection Laboratory) PHOTOGRAPHY IN CRIMINAL INVESTIGATIONS CHARLES CALVIN ScoTTf Modern criminal investigators are dependent 'in many ways upon chemistry and optics. Applications of these sciences have produced, among other things, the photographic. process-an indis- pensable aid to the twentieth century criminologist. The prepara- tion of photographs for use in criminal investigations is generally handled by skilled photographers, but every judge, prosecuting attorney, defense lawyer and police officer should know enough about photography to distinguish between good and bad photo- graphs. A single picture may convince a jury of the guilt or innocence of an accused. After a photograph has been admitted in evidence and shown to the jury, the opposing lawyer can waste thousands of words without convincing the jury that the facts are not properly portrayed in the picture. Jurors are average men and as such they usually think that photographs are always true representations of the objects pictured.
    [Show full text]