Unit 36: Darkroom Applications
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SP18 Experimental Photography AS
Studio Art Course Santa Reparata International School of Art Course Syllabus Semester: Spring 2018 Course Title: Experimental Photography Course Number: Art 315 Credits: 3, Contact Hours: 90 1. COURSE DESCRIPTION Designed for students who show evidence of a strong foundation in black and white dark- room practices. The course will examine a variety of techniques that include Polaroid trans- fer, Cyanotypes, Tonning, Liquid emulsion and Digital painting. Students will experiment with image manipulation on different supports including 3-D. Class time will include visits to mu- seums, field trips, technical demonstrations, darkroom work, individual and group critiques. 2. CONTENT INTRODUCTION Designed for advanced independent students wishing to add the element of experimentation to their work in photography. This course is designed to expand the student’s photographic vocabulary, to encourage experimentation, utilizing a variety of materials and techniques, and push the boundaries of what makes a photograph. In technical terms the class will be concentrated primarily with the experimentation of alter- native techniques and the development of a personal portfolio. Class time will include slide presentations on work by a wide variety of photographers, past and present, to help clarify project goals and possible approaches as well as to inspire students in their own work. During class time there will be technical demonstrations, critiques and photo-shooting field trips. 3. PREREQUISITES Black & White Photography II or equivalent. All students must have a SLR camera that permits manual adjustment of shutter speeds and apertures. All students are required to purchase photographic paper. It is recommended to bring all lenses, tripods and other equipment that belongs to your camera. -
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...................................................... -
Robert Berdan © Science & Art Multimedia
This workshop will take you to the next level with Photoshop CS4 and show you how to use curves, adjustment layers, masks, channels, create actions, convert images so they simulate infrared, hand colour BW photos, combine images to expand dynamic range, create impressionistic images and more. This workshop is designed as a follow up to Photoshop I workshop. Robert Berdan Science & Art Multimedia E-mail [email protected] (403) 247-2457 Last Updated January 28, 2010 Suitable for intermediate to advanced level photographers and Photoshop users. The workshop includes a DVD with tutorial images and step by step video clips for self learning. 1. Introduction 1.1 Introduction..................................................................................................... 3 2. Photoshop Lessons 2.1 Introduction to Curves...................................................................................... 4 2.2 Cross Processing using Curves......................................................................... 8 2.3 Adjustment Layers ........................................................................................... 10 2.4 Automated Adjustment Layers ......................................................................... 14 2.5 Adjustment Layer Masks .................................................................................. 16 2.6 Add a layer mask to reveal selected regions of a photograph.......................... 19 2.7 Create a Photomontage.................................................................................. -
Introduction to (Un)Intentional Errors in Analog Film and Photography
Introduction to (un)intentional errors in analog film and photography Ejla Kovačević & Anita Budimir (Klubvizija SC) /‘fu:bar/ 2016 Film specifications - Every manufacturer does his own film stock with own specifications, processing rules and chemical solutions (Kodak, Fuji, Foma...) - Development process highly regulated, most important: temperature, time, agitation - Old unexposed filmstock sometimes cannot be developed anymore because it requires specific chemical solutions which are no longer produced and vice versa - Today independent film labs are making their own chemical solutions and film stock to avoid dependence on commercial manufacturers Multiple exposure - Multiple light exposing onto single film frame in the camera Dziga Vertov – Man with a movie camera 1929 Murnau: Sunrise 1927 and The last laugh 1924 Example Manufraktur (Peter Tscherkassky, 1985) scratch / cameraless film / direct animation - Process of drawing or scratching directly on film - Scratch film animation emerged in 1920s with Len Lye - Associated with abstracts artists (Hans Richter, Oskar Fischinger, Viking Eggeling) - Reemerged in 50s and 60s with Stan Brakhage, Norman McClaren, Maurice Lemaitre... Scratch / cameraless film / direct animation Stan Brakhage strips A colour box (Len Lye, 1935) An optical poem (Oscar Fischinger, 1938.) Examples Blinkity Blank (Norman McClaren, 1955) https://www.youtube.com/watch?v=ftEci6AMUKg Mothlight (Stan Brakhage, 1963) https://www.youtube.com/watch?v=YGupnCXNuM8 Solarisation ● Also called Sabattier effect ● Discovered in 1862 by french photographer Armand Sabattier ● Reverse effect of light during too strong light exposure, whereby instead of negatives produces positive Man Ray - Experimented with unorthodox photographic processes during 1920s - His manipulated photographs are considered the origins of surrealist photography - The ultimate goal of photography in his own words, was to ".. -
JAMES STILES PHOTOGRAPHY Website: Email: [email protected] 310 377 4888 Ext
JAMES STILES PHOTOGRAPHY Website: http://stilesphotography.com/ Email: [email protected] 310 377 4888 Ext. 712 Resume Education: Baldwin High School, West 74th Street, N.Y.C. School of Visual Arts, 209 East 23rd Street, N.Y.C. Bachelor of Fine Arts (Degree in Photography).While attending school I freelanced as a photographer and photo assistant to Arnold Newman, Rebecca Blake, and Lois Greenfield. Professional Work: 1984 - 2004 Owner and operator of my own photography studio in New York City, with full time representation, assistants, and stylists. Involved in all aspects of shooting, production, set building, printing, darkroom facility, promotions and billing Services for clients specializing in fashion, still life catalogues, advertising, and portraiture. 2004 – 2014 Relocated my photography studio and business to Hollywood, L.A. Clients: Advertising Agencies: Young and Rubicam Inc., Ogilvey and Mather, Grey Advertising,, Kirshenbaum and Bond, and Dentsu Advertising Agencies. Editorial Publications: Harper’s Bazaar, Gentlemen’s Quarterly, Mirabella, Interview, Details, Modern Bride, Spin, Rolling Stone, Women’s Wear Daily, Sportswear International, Various Fairchild Publications, Grace, Decorative Home, and Jardin du Mode. Corporations and Record Companies: Canon Cameras (EOS-1 campaign), AT & T, The U.S. Army, R.C.A. Records, Jive Records, Verve Records, D.N.A. Records, Putnam Books and Avon Books. Fashion Companies: Spiegel, Pierre Cardin, Tom and Linda Platt Couture, Kenneth Cole, Ecco Shoes, Zodiak Shoes, Tootsie Plohound Shoes, New Man Sportswear, On The Brink(OTB) Sportswear, Mobile Eight and Tribes Sportswear, Dezan Jewelry, La Seduction Lingerie, and Oxygen Swimwear. Model Agencies: Ford, Zoli, Elite, Wilhelmina, Boss, Click, Bethanne, Q Models, Next Models, New York Models, and Others. -
Film Printing
1 2 3 4 5 6 7 8 9 10 1 2 3 Film Technology in Post Production 4 5 6 7 8 9 20 1 2 3 4 5 6 7 8 9 30 1 2 3 4 5 6 7 8 9 40 1 2 3111 This Page Intentionally Left Blank 1 2 3 Film Technology 4 5 6 in Post Production 7 8 9 10 1 2 Second edition 3 4 5 6 7 8 9 20 1 Dominic Case 2 3 4 5 6 7 8 9 30 1 2 3 4 5 6 7 8 9 40 1 2 3111 4 5 6 7 8 Focal Press 9 OXFORD AUCKLAND BOSTON JOHANNESBURG MELBOURNE NEW DELHI 1 Focal Press An imprint of Butterworth-Heinemann Linacre House, Jordan Hill, Oxford OX2 8DP 225 Wildwood Avenue, Woburn, MA 01801-2041 A division of Reed Educational and Professional Publishing Ltd A member of the Reed Elsevier plc group First published 1997 Reprinted 1998, 1999 Second edition 2001 © Dominic Case 2001 All rights reserved. No part of this publication may be reproduced in any material form (including photocopying or storing in any medium by electronic means and whether or not transiently or incidentally to some other use of this publication) without the written permission of the copyright holder except in accordance with the provisions of the Copyright, Designs and Patents Act 1988 or under the terms of a licence issued by the Copyright Licensing Agency Ltd, 90 Tottenham Court Road, London, England W1P 0LP. Applications for the copyright holder’s written permission to reproduce any part of this publication should be addressed to the publishers British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Library of Congress Cataloging in Publication Data A catalogue record -
Photography Techniques Intermediate Skills
Photography Techniques Intermediate Skills PDF generated using the open source mwlib toolkit. See http://code.pediapress.com/ for more information. PDF generated at: Wed, 21 Aug 2013 16:20:56 UTC Contents Articles Bokeh 1 Macro photography 5 Fill flash 12 Light painting 12 Panning (camera) 15 Star trail 17 Time-lapse photography 19 Panoramic photography 27 Cross processing 33 Tilted plane focus 34 Harris shutter 37 References Article Sources and Contributors 38 Image Sources, Licenses and Contributors 39 Article Licenses License 41 Bokeh 1 Bokeh In photography, bokeh (Originally /ˈboʊkɛ/,[1] /ˈboʊkeɪ/ BOH-kay — [] also sometimes heard as /ˈboʊkə/ BOH-kə, Japanese: [boke]) is the blur,[2][3] or the aesthetic quality of the blur,[][4][5] in out-of-focus areas of an image. Bokeh has been defined as "the way the lens renders out-of-focus points of light".[6] However, differences in lens aberrations and aperture shape cause some lens designs to blur the image in a way that is pleasing to the eye, while others produce blurring that is unpleasant or distracting—"good" and "bad" bokeh, respectively.[2] Bokeh occurs for parts of the scene that lie outside the Coarse bokeh on a photo shot with an 85 mm lens and 70 mm entrance pupil diameter, which depth of field. Photographers sometimes deliberately use a shallow corresponds to f/1.2 focus technique to create images with prominent out-of-focus regions. Bokeh is often most visible around small background highlights, such as specular reflections and light sources, which is why it is often associated with such areas.[2] However, bokeh is not limited to highlights; blur occurs in all out-of-focus regions of the image. -
Camera Raw Image Processing
Movie 2 Camera Raw Image Processing Adobe Photoshop CS3 for Photographers by Martin Evening ISBN: 0-240-52028-9 (old style ISBN) ISBN: 978-0-240-52028-5 (new style ISBN) Adobe Photoshop CS3 for Photographers is published by Focal Press, an imprint of Elsevier. The title will be available from May 2007. Here are four easy ways to order direct from the publishers: By phone: Call our Customer Services department on 01865 474010 with your credit card details. By Fax: Fax an order on 01865 474011 By email: Send to [email protected] By web: www.focalpress.com. Orders from the US and Canada should be placed on 1-800-545-2522. By email: [email protected]. The title will be stocked in most major bookstores throughout the UK and US and via many resellers worldwide. It will also be available for purchase through the online bookstores www.barnesandnoble.com, Amazon.com and Amazon.co.uk. Martin Evening Adobe Photoshop CS3 for Photographers www.photoshopforphotographers.com Closing Bridge as you open Working with Camera Raw and Bridge If you hold down the O A key as you The mechanics of how Photoshop and Bridge work double-click to open a raw image, this will together are made as simple as possible so that you can close the Bridge window as you open the open single or multiple images or batch process images Camera Raw dialog. quickly and efficiently. Figure 1 summarizes how the linking between Bridge, Photoshop and Camera Raw Opening JPEGs via ACR in Bridge works. As well as the Photoshop File Handling Central to everything is the Bridge window interface, preference: ‘Prefer Adobe Camera Raw where you can browse, preview and make selections of for JPEG files’, there is also a Bridge which images you want to process. -
Kodak Ektachrome Pro Infrared EIR Film
First Exposure Kodak Ektachrome Professional Infrared EIR Film Kodak EIR show with #12 yellow filter. If there is any film that truly defines the difference between the "art" and the "science" of photography, it has to be Kodak's Ektachrome Infrared IE. This film became popular for scientific docu- mentation and for those who wanted to capture unique color variations of the norm on transparency film. This film was processed in E-4 chemistry, and Kodak continued to manufacture it al- though they switched other Ekta- chromes to the E-6 process. After consid- erable prodding from photographers, Kodak finally decided to upgrade to Ektachrome Infrared EIR film, an E-6- process film. This pleased many large format photographers who used infrared film for aerial, commercial and scientific studies. To satisfy the 35mm users, Kodak now cuts the large manu- EIR shot with #12 filter, scanned and reversed in Photoshop. factured rolls down to a 35mm perfo- rated version called Ektachrome Pro- fessional Infrared EIR film. This is the first positive infrared film that can be processed in either E-6 or AR-5 process- es. [Note: AR-5 is an Eastinan Kodak pro- cess intermediary between E-4 and E-6 that produces less contrast than E-6 and is pri- marily designed for aerial photographers— we think tlie "AR" actually stands for Aerial Reconnaissance, although no one will con- finn that. AR-5 cheimstry is still sold by Kodak, but the company no longer offers the process as a service; see below—Ed. I Using EIR This is not a simple film which you merely pop into your camera and start shooting. -
Appendix to the Faculty Senate Agenda, February 14, 2006
Appendix to the Faculty Senate Agenda, February 14, 2006 FRANCIS MARION UNIVERSITY: DESCRIPTION OF PROPOSED NEW COURSE or MODIFICATION OF AN EXISTING COURSE Department/School _Fine Arts___________Date__November 30, 2005___________ Course No. or level _____Title__Alternative Digital Imaging______________ Semester hours ____3___ Clock hours: Lecture___1___Laboratory______5_______ Prerequisites________Art 218: Introduction to Digital Photography_____________ Enrollment expectation______15_____________ Indicate any course for which this course is a (an) modification__X__Art 318: Alternative Photographic Processes (proposed change in course title, course description, course content or method of instruction) substitute__________________________ (The proposed new course replaces a deleted course as a General Education or program requirement.) alternate___________________________ (The proposed new course can be taken as an alternate to an existing course.) Name of person preparing course description_____Kathleen Pompe________________ Department Chairperson’s/Dean's Signature____________________________________ Provost's Signature________________________________________________________ Date of Implementation_________________Fall Semester 2006___________________ Date of School/Department approval_________November 30, 2005_________________ Catalog description: Exploration and experimentation with alternative imaging emphasizing digital photography use for imaging concepts and including various software explorations. Further development of digital -
Photoshop Ii Workshop]
Robert Berdan [PHOTOSHOP II WORKSHOP] Contents Introduction ................................................................................................................................................ 2 Advantages of a Digital Darkroom ......................................................................................................... 3 Photoshop Lessons ............................................................................................................................... 4 Introduction to Curves ............................................................................................................................ 4 Cross processing ................................................................................................................................... 9 Adjustment Layers ............................................................................................................................... 11 Automated Adjustment Layers............................................................................................................. 16 Adjustment Layer Masks ..................................................................................................................... 18 Add a layer mask to reveal selected parts of an image ....................................................................... 21 Creating a Photomontage ...................................................................... Error! Bookmark not defined. Layer Effects using Masks .................................................................... -
Polaroid Type 667 and an Alternative Sabattier Technique Andrew Davidhazy
Rochester Institute of Technology RIT Scholar Works Articles 4-3-2006 Polaroid Type 667 and an alternative Sabattier technique Andrew Davidhazy Follow this and additional works at: http://scholarworks.rit.edu/article Recommended Citation Davidhazy, Andrew, "Polaroid Type 667 and an alternative Sabattier technique" (2006). Accessed from http://scholarworks.rit.edu/article/195 This Technical Report is brought to you for free and open access by RIT Scholar Works. It has been accepted for inclusion in Articles by an authorized administrator of RIT Scholar Works. For more information, please contact [email protected]. Polaroid Type 667 and an alternative Sabattier technique Andrew Davidhazy Imaging and Photographic Technology Department School of Photographic Arts and Sciences/RIT Rochester, NY 14623 I am a frequent user of Polaroid materials, especially as the material of choice when doing scientific, technical, high speed and peripheral photography demonstrations. I am a particularly heavy user of Type 667 film because it's very high speed allows me to conduct these demonstrations using little additional light or to use small apertures when working with high speed, short exposure, but low total energy, electronic flashes. One of the byproducts of this film is a paper negative that I have traditionally simply called "scrap" and thrown away. I had noticed in the past that on occasion the negative images left on these paper negatives had a very interesting visual quality to them and had often wondered if these negative "remains" could be used further to possibly generate additional copies of the scene depicted in the photograph. As others have found out in the past, Polaroid materials, especially Type 665 or 55 (positive/negative material) exhibit significant amounts of the Sabattier effect and the application of this film for aesthetic purposes has been widespread.