Bill Franson / Photographs 978.463.8100
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Topaz Lens Effects Lens Topaz 3
User Manual Contents I. Installation 11. About 31 A. How to Install 3 B. Entering Your Key 3 IV. Settings & Parameters C. Host-Specific Installation 3 A. Effects & Presets 32 1. Paint Shop Pro 4 B. Bokeh - Center Focus 33 2. Photo Impact 5 C. Bokeh - SLR 36 Topaz Lens Effects Lens Topaz 3. Irfanview 6 D. Bokeh - Selective 39 D. Uninstalling 7 E. Camera - Pinhole 44 F. Camera - Tilt & Shift 46 II. Introduction G. Camera - Toy 50 A. About Topaz Lens Effects 8 H. Camera - Diffusion 54 1. Primary Functions 8 I. Filter - Dual Tone 55 B. Program Features 9 J. Filter - Fog 59 K. Filter - Graduated Color 6 III. New Features L. Filter - Graduated Neutral Density 61 A. Smart Brush 10 M. Filter - Polarization 62 B. Effects Menu 15 N. Filter - Reflector 63 C. Apply Button 16 O. Filter - Single Tone 64 D. Enhanced Sharpening 17 P. Filter - Streak 65 E. Split Screen View 18 Q. Filter - UV/Haze 65 F. Interface Style 19 R. Filter - Warmth 66 2 S. Lens - Creative Blur 67 IV. Work Area T. Lens - Dual Focus 68 A. Interface 20 U. Lens - Fisheye 70 B. Preview 24 V. Lens - Motion 71 C. Effects & Presets 26 W. Lens - Split Prism 72 1. Applying Presets 26 X. xF - Add Adjustment 73 2. Adding Presets 26 W. xF - Add Geometric Distortion 74 3. Deleting Presets 27 Z. xF - Add Grain 75 4. Importing Presets 28 AA. xF - Add Sharpening 75 5. Exporting Presets 28 AB. xF - Add Vignette 76 6. Sharing Presets 28 AC. xF - Add Vignette - Selective 76 D. -
Film Camera That Is Recommended by Photographers
Film Camera That Is Recommended By Photographers Filibusterous and natural-born Ollie fences while sputtering Mic homes her inspirers deformedly and flume anteriorly. Unexpurgated and untilled Ulysses rejigs his cannonball shaming whittles evenings. Karel lords self-confidently. Gear for you need repairing and that film camera is photographers use our links or a quest for themselves in even with Film still recommend anker as selections and by almost immediately if you. Want to simulate sunrise or sponsored content like walking into a punch in active facebook through any idea to that camera directly to use film? This error could family be caused by uploads being disabled within your php. If your phone cameras take away in film photographers. Informational statements regarding terms of film camera that is recommended by photographers? These things from the cost of equipment, recommend anker as true software gizmos are. For the size of film for street photography life is a mobile photography again later models are the film camera that is photographers stick to. Bag check fees can add staff quickly through long international flights, and the trek on entire body from carrying around heavy gear could make some break down trip. Depending on your goals, this concern make digitizing your analog shots and submitting them my stock photography worthwhile. If array passed by making instant film? Squashing ever more pixels on end a sensor makes for technical problems and, in come case, it may not finally the point. This sounds of the rolls royce of london in a film camera that is by a wide range not make photographs around food, you agree to. -
Street Photography 101
STREET PHOTOGRAPHY 101 ERIC KIM INTRODUCTION This book is the distillation of knowledge I have There are no “rights” and “wrongs” in street pho- learned about street photography during the tography– there is only the way you perceive past 8 years. I want this book to be a basic street photography and the world. primer and introduction to street photography. If Cheers, you’re new to street photography (or want some new ideas) this is a great starting point. Eric Everything in this book is just my opinion on Feb, 2015 / Oakland street photography, and I am certainly not the foremost expert on street photography. However I can safely say that I am insanely passionate and enthusiastic about street photography– and have dedicated my life to studying it and teach- ing it to others. Take everything in this book with a pinch of salt, and don’t take my word for granted. Try out tech- niques for yourself; some of these approaches may (and may not) work for you. Ultimately you want to pursue your own inner-vision of street photography. i 1 WHAT IS “STREET PHOTOGRAPHY”? Dear friend, Welcome to “Street Photography 101.” I will be your “professor” for your course (you can just call me Eric). If you’re reading this book– you’re probably interested in street photography. But before we talk about how to shoot street photography– we must talk about what street photogra- phy is (or how to “define” it). Personally I hate definitions. I think that definitions close our minds to possibilities– and every “defini- tion” is ultimately one “expert’s” opinion on a topic. -
Street Photography Project Guide
The Street Photography Project Manual by Eric Kim When I first started shooting street photography, I was very much focused on “single images”. Meaning– I wanted to make these beautiful images (like pearls) that would get a lot of favorites/likes on social media. I wanted each photograph to be perfect, and stand on its own. However after a while shooting these single-images became a bit boring. I felt photography became a way for me to produce “one-hit-wonders” – which didn’t have that much meaning, soul, and personal significance. In trying to find more “meaning” in my photography– I started to study photography books, learning from the masters, and how they were able to craft stories that had a narrative and personal significance. Soon I discovered that I was much more interested in pursuing photography projects– projects that would often take a long time (several years), would require meticulous editing (choosing images) and sequencing, and were personal to me. I wanted to create this book to be a starting guide and a primer in terms of starting your own street photography project. I will try to make this as comprehensive as possible, while still being practical. Here is an overview of some of the chapters I will like to cover: Chapter 1: Why pursue a street photography project? Chapter 2: What makes a great photography project? Chapter 3: How to come up with a street photography project idea? Chapter 4: How to stay motivated when pursuing your photography project Chapter 5: How to edit/sequence your photography project Chapter 6: How to publish your photography project Chapter 7: Conclusion Chapter 1: Why pursue a photography project? Of course we are dealing with street photography– but there are many different reasons to pursue a photography project in general: Reason 1: Photography projects are more personal First of all, one of the main reasons you should pursue a photography project is that you can make it more personal. -
Photography and Communication: a Study of Interrelationship
International Journal of English Learning and Teaching Skills; Vol. 1, No. 3; ISSN : 2639-7412 (Print) ISSN : 2638-5546 (Online) PHOTOGRAPHY AND COMMUNICATION: A STUDY OF INTERRELATIONSHIP Debashish Ghosh Scientific Officer, Department of Electrical Engineering, Aruni Maji, Debapriya Palai B.Tech,Forth year, Department of Electrical Engineering, Niloy Chakravorty B.Tech,Second year, Department of Electronics & Communication Engineering, Institute of Engineering & Management, Kolkata Abstract: Photography has arguably become one of the most potent instruments of communication for a contemporary artist. Its versatility, suggested truthfulness and the way in which artists distort or interpret ''reality'' has been a part of photography since the advent of the daguerreotype in 1839. Taking photographs today are no longer primarily an act of memory intended to safeguard a family's pictorial heritage, but is increasingly becoming a tool for an individual's identity formation and communication. Digital cameras, camera-phones, photo-blogs and other multipurpose devices are used to promote the use of images as the preferred idiom of a new generation of users. The aim of this article is to explore how photography has developed through time in itself and at the same time went on reshaping ideas of communication. Photography has touched and influenced almost all the major aspects of communication; the conclusion calls for a broader consideration of the links between the history of photography and media. Keywords: Photography, Media, Communication, Culture, Art history. Introduction: “The first thing to observe about the world of the 1780s is that it was at once much smaller and much larger than ours. It was smaller geographically …Yet if the world was in many respects smaller, the sheer difficulty or uncertainty of communications made it in practice much vaster than it is today.” This is how eminent Marxist historian Eric Hobsbawm starts the first pages of his seminal work on world history in four volumes. -
SELECTED PHOTOGRAPHS from Brassaï to Cindy Sherman from Brassaï to Cindy Sherman
T +49 (0)30 - 211 54 61 | F +49 (0)30 - 218 11 97 |[email protected] 97 54 |F+49T +49 61 (0)30 11 (0)30 -218 -211 |www.kunsthandel-maass.de Kunsthandel Jörg Maaß |Rankestraße Berlin |10789 24 Kunsthandel Jörg Maaß SELECTED PHOTOGRAPHS From Brassaï to Cindy Sherman · 2009 SELECTED PHOTOGRAPHS From Brassaï to Cindy Sherman Cindy Brassaïto From 2 SELECTED PHOTOGRAPHS From Brassaï to Cindy Sherman 2 FROM BRASSAÏ TO CINDY SHERMAN 22 selected photographs For a number of years we have been gathering together a took Europe by storm between the two world wars, displaying collection of photographs which has evolved into a substantial infl uences from the Bauhaus, Surrealism and Neue Sachlichkeit group, but has never been shown publicly. A selection of which (New Objectivity) movements. Some examples of artists who we would now like to present in this catalog and exhibition. Our were proponents of the Neues Sehen or New Vision Photography intentions are to pro vide a wide and representative cross section are reproduced in our catalog. of our inventory, begin ning in the late 1920s and continuing up to the present day. We focus on American and European After the Second World War, the center of modern art moved photo graphy; black and white, as well as color. We have chosen from Europe to the United States, where photography had been works – in addition to the signifi cance of the individual artists – developing in a different direction. In the States, photography according to certain central themes: the nude, land scapes, por - was less dependent on the fi ne arts and can be seen as a per- traits and architecture, to name the most prominent. -
Seven Photographers Who Are Rewriting Street Photography's
Seven Photographers Who Are Rewriting Street Photography's Rigid Rules These photographers are finding new ways of making pictures in public space: some staged, some digitally altered, all with uninhibited grit. Jon Feinstein In the nearly two centuries since Daguerre's classic 1838 Parisian street scene, exposed for several minutes, miraculously capturing two men who stayed still long enough to show up on the negative, attitudes towards street photography, photographing in public, and the possibility of the medium—digital or not—to achieve any sense of objective truth have changed continuously. And the debates have been contentious. For years, many traditionalists treated the genre with a rigid sense of rules prescribed by street-photo-godfather Henri Cartier-Bresson. No double exposures, no printing techniques that might obscure the original content on the negative, no cropping that could change what was captured. Some insisted on including the edges of the negative on their prints as “proof” that the original photo had not been altered. And then Photoshop and digital photography opened up a whole new can of worms. The following seven photographers mark street photographyʼs many contemporary directions and its ability to stay varied and continue to grow beyond the strictures of its most traditional tyrants. Some use digital tools to reform how we understand public spaces, others create varying degrees of staged interference, while still others let it all happen naturally, topped off with the raw power of a flash. Most of these photographers are sharing work daily on Instagram—I encourage you to keep up with their work. Field Hockey Game, Boston University Highline, 2013. -
Hybrid Photographies in London Labour and the London Poor
2 Hybrid Photographies in London Labour and the London Poor It would be a work of supererogation to extol the utility of such a publication as ‘London Labour and the London Poor,’ so apparent must be its value to all classes of society. It stands alone as a photograph of life as actually spent by the lower classes of the Metropolis.1 This advertisement for Henry Mayhew’s London Labour and the London Poor (1850–62) attempts to disguise its purpose by claiming that its ‘value’ is manifestly true. That a newspaper advert would use photogra- phy as a figure for the self-evident suggests the status that it had achieved as a representational mode by 1861. Thanks to its unsurpassed level of mimetic accuracy, photography had become a common metaphor for fidelity. London Labour was not only advertised using the metaphor of photography; as we shall see, the work itself had a particularly intimate relationship with photography.2 If the text is ‘a photograph of life’, then do the book’s actual photographs tell us something about the text itself? In particular, do they help to explain the differences between Mayhew’s earlier and later writings? It is my contention that they do. I will show that the distinctive nature of Mayhew’s images, the fact that they are hybrid daguerreotype-engravings, was concomitant with his desire to represent the poor according to an aesthetic of picturesque nobility. Critics have tended to vary in their assessment of Mayhew’s journal- ism depending upon which part of his voluminous output they are examining. -
Plastic Fantastic Toy Camera Show
LightBox Photographic Gallery 1045 Marine Drive Astoria, Oregon 97103 503-468-0238 [email protected] LightBox Photographic Gallery Call for Entries PLASTIC FANTASTIC TOY CAMERA SHOW Toy cameras are special with the wondrous and dreamlike images they create, photographic subjects take on a unique special quality that is rarely found from any other capture device. We at LightBox have a special love of these cameras and images and in celebration of our 1st anniversary we wish to feature photographers that share our love of these special cameras. We need your help in starting an annual tradition here at LightBox by entering this 1st Plastic Fantastic show and help us treat our gallery visitors to the wonders of the Toy camera. The Plastic Fantastic Show will run from June 12th to July 7, 2010. Eligibility The list of toy cameras is extensive, the requirement is that the camera either have a plastic body or lens, no auto anything and decidedly low tech. Prints may be traditional optical prints or scanned negatives printed digitally as c-prints or pigment ink prints. Digital manipulations are not encouraged. Optical prints are preferred. Deadlines Deadline for submissions is May 20,2010. Deadline for delivery of accepted works is June 4, 2010. Requirement for Submission You may email jpegs or send us a CD, or proof prints. Files/proofs must be titled with last and first name and title. Sample: DoeJoe-Title SASE must be included if you wish your CD or Proofs to be returned. Entry Fee There is a non refundable entry fee of $10 each, or $25 for 3, and $5 each for each additional after three. -
Street Photography – Tips
Street Photography – Tips Getting Over Your Fear I’ve been capturing shots of complete strangers for a long time and while I’ve become much more confident and carefree, I still freeze up feeling terrified like when I first started. Photographing people on the streets candidly from close distances can be terrifying, especially if you tend to be introverted like I am. The most common comment I see about street photography is that people are too nervous to try it or that they go out to try it and then freeze up. FYI, we all freeze up. Street photography is so rewarding once you fight through these barriers, especially if you’re introverted, but the problem is that most people stop before they ever learn to get through it. So if you’re completely new to street photography or haven’t had much practice with it, what are the processes and techniques to help you get over your fears? Ultimately, time and practice is the only true way to do it, but there many steps you can take to make it easier on yourself from the very beginning. 1. Shoot from the Hip and Zone focus Shooting from the hip is when you photograph without looking through the viewfinder. It is easiest to do with a light, wide-angle prime lens where you are used to the perspective, so that you can frame correctly without looking. Zone focusing, or pre-focusing to a specific distance, is necessary for shooting this way and is a subject that needs its own article. -
Reimagining Vancouver's Skid Road Through the Photography Of
“Addicts, Crooks, and Drunks”: Reimagining Vancouver’s Skid Road through the Photography of Fred Herzog, 1957–70 Tara Ng A Thesis in The Department of Art History Presented in Partial Fulfillment of the Requirements for the Degree of Master of Arts (Art History) at Concordia University Montreal, Quebec, Canada April 2016 © Tara Ng, 2016 CONCORDIA UNIVERSITY School of Graduate Studies This is to certify that the thesis prepared By: Tara Ng Entitled: “Addicts, Crooks, and Drunks”: Reimagining Vancouver’s Skid Road through the Photography of Fred Herzog, 1957–70 and submitted in partial fulfillment of the requirements for the degree of Master of Arts (Art History) complies with the regulations of the University and meets the accepted standards with respect to originality and quality. Signed by the final Examining Committee: _____________________________________ Chair _____________________________________Examiner Dr. Catherine MacKenzie _____________________________________Examiner Dr. Cynthia Hammond _____________________________________Supervisor Dr. Martha Langford Approved By ______________________________ Dr. Alice Ming Wai Jim Graduate Program Director ________________2016 ______________________________ Rebecca Taylor Duclos Dean of Faculty of Fine Arts iii Abstract “Addicts, Crooks, and Drunks”: Reimagining Vancouver’s Skid Road through the Photography of Fred Herzog, 1957–70 Tara Ng This thesis explores how Canadian artist Fred Herzog’s (b. 1930) empathetic photographs of unattached, white, working-class men living on Vancouver’s Skid Road in the 1950s and 1960s contest dominant newspaper representations. Herzog’s art practice is framed as a sociologically- oriented form of flânerie yielding original, nuanced, and critical images that transcend the stereotypes of the drunk, the criminal, the old-age pensioner, and the sexual deviant on Skid Road. -
Call for Submissions PLASTIC FANTASTIC X TOY CAMERA SHOW
LightBox Photographic Gallery 1045 Marine Drive Astoria, Oregon 97103 [email protected] 503-468-0238 Call for Submissions PLASTIC FANTASTIC X TOY CAMERA SHOW June 8th – July 10th , 2019 Submission Deadline, Midnight, Monday, May 6, 2019 LightBox Photographic Gallery is pleased to announce the call for submissions for The Plastic Fantastic Show X. This group show celebrates the love LightBox has for photographic images made with plastic “toy” cameras. LightBox established this show to celebrate the gallery’s anniversary. LightBox is looking for pure Toy Camera Photography and will consider images shot with film only, using plastic, pinhole, box or homemade cameras. No digital photography will be considered. This year we are pleased to announce our Juror is Becky Ramotowski, aka. Astro Beck Becky is the founder of World Toy Camera Day. She has been a photo enthusiast since the age of six when she was given her first camera, an Imperial Mark XII, to take on a road trip across the southwestern USA and up the west coast to Seattle. Her "official" interest in toy cameras came in 2002 after seeing quirky photos made with Holgas and Dianas at a photo lab in Texas where she bought her first Holga. "The very first photo I made with my Holga was one I really liked of a statue of “Nike of Samothrace” in a run-down park in San Antonio, Texas. It was the flawed statue and the run-down park full of weeds and abandonment that lured me in and set the hook for using toy cameras. The photo was vignetted and not quite perfectly focused that just felt at home.