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Process Camera, Stripping, and Platemaking. Teacher Guide. INSTITUTION Mid-America L)Cational Curriculum Consortium, Stillwater, Okla
DOCUMENT RESUME ED 327 663 CE 056 673 AUTHOR Feasley, Sue C., Ed. TITLE Graphic Arts: Process Camera, Stripping, and Platemaking. Teacher Guide. INSTITUTION Mid-America l)cational Curriculum Consortium, Stillwater, Okla. REPORT NO 90-007460 PUB DATE 90 NOTE 285p.; For related documents, see CE 056 671-672. AVAILABLE FROM Mid-America Vocational Curriculum Consortium, Inc., 1500 West Seventh Avenue, Stillwater, OK 74074 (order no. 802001: $22.00). PUB TYPE Guides - Classroom Use - Guides (For Teachers) (052) EDRS PRICE MF01 Plus Postage. PC Not Available from EDRS. DESCRIPTORS Behavioral Objectives; Competency Based Education; Course Descriptions; Curriculum Guides; =Graphic Arts; Learning Activities; =Photographic Equipment; *Photography; Postsecondary Education; Production Techniques; Secondary Education; Units of Study ABSTRACT This curriculum guide is the second in a three-volume series of instructional materials for competency-based graphic arts instruction. Each publication is designed to include the technical content and tasks necessary for a student to be employed in an entry-level graphic arts occupation. Introductory materials include an instructional/task analysis that correlates job training with related information for this course; a list of tools, equipment, and materials; and a list of 12 references. Each of the seven instructional units includes some or all of these basic components: performance objectives; suggested activities for teachers and students; information sheets; assignment sheets; job sheets; visual aids; tests; and answer keys. Units are planned for more than one lesson or class period. Unit topics include the process camera and other darkroom equipment; line photography; halftone photography; other darkroom techniques; overview of procass color photography; stripping procedures; and platemaking procedures. -
The Eyes Have It
John Henshall’s Chip Shop The Eyes Have It At Photokina, Cologne, and Photo Plus Expo, New York, John Henshall finds that medium format digital is not only alive and kicking but flourishing in the maturing digital marketplace. hen Canon introduced its EOS 1Ds Mark II DSLR at Photokina in 2004 it looked W as though the writing might be on the wall for the medium format back manufacturers. The EOS 1Ds Mark II has 16.7 million pixels on a full-frame (24 x 36mm) sensor which produces 47.6MB files of 4992 x 3328 pixels. Those are enough for a 25 x 16.6 inch (63.4 x 42.3cm) print at 200 pixels per inch or a 16.6 x 11 inch (42.2 x 28.2cm) print at 300ppi. Two years on, it seemed the time might be right for Canon to introduce the successor to the 1Ds Mark II at Photokina 2006 . Rumours abounded. Would it be in a body similar to the EOS 5D, with a similar interface, developed from the one button accessibility of the EOS 20D? Would it employ a 22 megapixel sensor – a 24 megapixel sensor – or even a ABOVE LEFT: Martin Parr gave a very witty two-hour square sensor? presentation about his work to an audience of about A square sensor in a 35mm-style 400 – mainly American photographers – all of whom DSLR body? This is not as strange a seemed to have no problem understanding Martin’s dry English humour. Maybe we have Ricky Gervais notion as it might at first seem seem. -
Be Creative with Light. and with System
BE CREATIVE WITH LIGHT. AND WITH SYSTEM. PREFACE 3 DEAR READER The challenge of thoroughly ad- our engineers as they push the it leaves nothing to be desired in dressing your needs and repeatedly technology to its limits with a living terms of operating convenience, surprising you with innovations is suite of broncolor innovations that longevity, value for money, and reli- what motivates us. And light is our become the global benchmark. ability. The objective stands. passion. Essentially, we have much Beyond the spirit of innovation, At www.broncolor.com, you can find in common. You face daily chal- nothing has changed as regards detailed information on the entire lenges, too. Every new assignment the legendary quality and depend- broncolor product line. calls for different, refined, and sur- ability that you have come to expect You’re the judge. Let the following prising photographic solutions. of broncolor products in your every- pages acquaint you with the current That’s where we want to offer our day work. Every device that leaves broncolor product line. We look support. We tap every single per- our production facility has under- forward to the continued privilege sonal contact with your colleagues gone exhaustive functionality tests. of serving you – for many years to from all over the world and ask Where possible, innovations are come. them how we can provide assis- compatible with previous-generation tance in the form of solutions that products. Over the years, this will ultimately benefit the entire systematically implemented philo- community in the studio and on lo- sophy has enriched the broncolor cation. -
Sony Introduces High-Resolution Alpha 7R IV Camera
Press Release Sony Introduces High-Resolution Alpha 7R IV Camera with World’s First 61.0 MP Back-illuminated Full-frame Image Sensor Unprecedented highest resolution and widest dynamic range for αTM (AlphaTM) system combined with high speed performance, in a lightweight compact body • World’s firsti 35mm full-frame 61.0 MPii back-illuminated Exmor R™ CMOS image sensor with latest-generation BIONZ X™ image processor • 15-stopiii dynamic range at low sensitivities, resulting in smooth natural gradations ranging from deep shadows to highlights • High-speed continuous shooting at up to 10 fpsiv with full AF / AE tracking for approx. 7 secondsv in full-frame mode with an increased buffer memory, and approximately three times more in APS-C mode • 567 focal-plane phase-detection AF points covering 74% of image area and 425 contrast AF points • Debut of Real-time Eye AF for movie recordingvi and advanced Real-time Trackingvii plus Real-time Eye AF for still image recording • Features an APS-C crop mode delivering stunning high resolution of 26.2MP2 • 5.76 million dot UXGA (Ultra-XGA) OLED Tru-Finder™ electric viewfinder with outstanding detail, brightness and contrast • Upgraded connectivity and operability including high-speed Wi-Fi support, wireless PC remote connectivityviii, FTP wireless transfer, faster data transfer via USB and more • Professional 4K movie recording functionality including full pixel readout with no pixel binning in Super 35mm modeix, S-Log3, HDR workflow support • Multi Interface Shoe™ with digital audio interface deliver the high-quality sound recording with new Sony’s microphones and XLR adaptor • Additional enhancements to the body design include an improved grip and button for improvised control with compact, lightweight body Hong Kong, August 15, 2019 – Sony today announced the latest addition to its acclaimed Alpha™ 7R series full-frame mirrorless camera line-up; the extremely versatile, powerful Alpha 7R IV (ILCE-7RM4). -
Build Interest in Prehistoric Site Through Still Life, Landscape, and Story Photography Artworks
INTERNATIONAL JOURNAL OF SCIENTIFIC & TECHNOLOGY RESEARCH VOLUME 9, ISSUE 12, DECEMBER 2020 ISSN 2277-8616 Build Interest in Prehistoric Site Through Still Life, Landscape, and Story Photography Artworks Winny Gunarti Widya Wardani, Wulandari, Syahid Abstract: The existence of prehistoric sites in Indonesia is important to preserved because it is a cultural heritage. If there is less interest in relics of artifacts, then it has the potential to erase prehistoric traces in the minds of the younger generation. There are many ways to build interest in prehistoric sites, including through photographic art. This study examines the visuals strength in the still life, landscape, and story photography genres which can influence people's interest in prehistoric sites. Quantitatively, a survey of tourists at the Gunung Padang Site, Cianjur, West Java shows 88 percent think historical places need to be visualized through pictures or photos that attract knowledge. Meanwhile, qualitatively, this study shows the strength of elements in the still life, landscape and story photography genres which are able to build certain visual perceptions in the minds of the readers. In digital photography technique, the processing of visual signs is mainly influenced by the power of shooting for impact, which consists of distance and perspective, and focus of attention as a process of reading visual signs using a visual communication design approach. This study is expected to become an academic reference in the field of alternative media to build interest in prehistoric sites. Keywords: Prehistoric site, still life, landscape, story, photography artworks. —————————— —————————— 1 INTRODUCTION TH E Gunung Padang Site in Karyamukti Village, Cianjur, West particularly in the application of photographic art as an Java is a tourist location as well as a research center for alternative medium to build younger generations' interest in megalithic sites. -
Durst Da900 Manual Us B.Pdf
SPECIFICATION OF COMPONENTS AND OPERATING KNOBS Serial number Description Page 1) Base 2 2) Projection board 2 3) Hexagonal screws for fixing the column in the base 2 4) Column 2 5) Enlarger head 2 6) Fi Iter drawer 2 7) Mirror housing 2 8) DANOCON 50 twin condenser 2 9) DANOCON 105 twin condenser 2 10) DUONEG negative carrier 2 11) AUTONEG negative carrier 12) Lenses with their lens board 2 13) Serial number plate 3 14) Angular bar on column 3 15) Lock of the quick-locking lens holder 3 16) Lens carrier 3 17) Cable with plug and switch 4 18) Cover of the I ight hood 5 19) Fixing screws for AUTOCALO 4 20) Red filter wheel-grip 5 21) Shutter wheel-grip 6 22) Grip bar for opening the serial number plate 6 23) Condenser grip (DANOCON 50) 6 24) Hooks on the condenser mounti ng 6 25) Condenser fixing bar 6 26) Pushing-bar for changing the lenses 6 27) Lamp socket 6 28) Wheel-grip for vertical adjustment of the enlarger head 29) Locking screw for the enlarger head adjustment 7 30) Guide tracks for the heat absorbing filter 4 31) - 32) Wheel-grip for focusing both the lenses 10 33) Lens carriage 14 34) Focus variator wheel-grip 14 35) Locking knob of focus variator 15 36) Cross-slot screws on the base board 18 37) Green filter 19 38) Steel bands 20 DURST DA 900 A precision professional enlarger for all negative formats up to 20 x 3112" (6.5 x 9 cm.) including 70 mm. -
Manual Sinar P2 / C2 / F2 / F1-EN (PDF)
lnstructionManual The cameras Operatingcontrols of the SINAR iT p2andc2 1 Coarse-focusclamping lever 2 Finefocusing drive with depth of field scale 3 Micrometer drive for vertical (rise and fall) shift 4 Micrometer drive for lateral(cross) shift 5 Micrometerdrive for horizontal-axistilts 6 Micrometer drive for vertical-axisswings 7 lmageplane mark 8 Coarse-tilt (horizontal axis) clamping lever; movementused for verticalalignment of stan- dards with camerainclined up or down, alsofor coarse tilting to reservefull micrometertilt (5) rangefor sharpnessdistribution control. Fig.1 Contents The cameras 2 The planeof sharpnessand depthof field 11 - Controls 2 - Zerosettings Fufiher accessories 12 3 - - Mountingthe camera SINARCOLOR CONTROLfitters 12 4 - - The spirit levels Exposure meters 12 4 - - The base rail 4 AutomaticSINAR film holder - Changingcomponents 4 and shuttercoupling 12 - Film - The bellows 5 holders 13 - Camera backs s Final points 14 - Switchingformats p2 on the STNAR andc2 6 - Maintenance 14 - Switchingformats g on the SINARf2 andtl - Cleaning 14 - The convertible g camera - Adjusting the drives 14 - The bellowshood 9 - Cleaninglenses, filters and mirrors 14 - Viewingaids 9 - Warranty 14 - Transport l0 - Furtherinstruction manuals 14 The view camera movements 10 Remark: The camerac2 is no longerpart of the SINARsales programme, but can stiltrbe combined by the individualSINAR components. Operatingcontrols of the S|NARt2andtl 1 Coarse-focusclamping knob 2 Finefocussing drive with depthof fieldscale 3 Clampingwheel for verticalshift 4 Clampinglever for lateralshift 5 Clampinglever for swing (verticalaxis) 6 Clampinglever for tilt (horizontalaxis) 7 Angle-meteringscale for tilt and swingangles 8 lmageplane mark Zero setting points of the cameras CAMERAMODELS REAR(IMAGE) STANDARD FRONT(LENS) STANDARD NOTES SINARo2 With regularor special gxi|2 - 4x5 / White l White White dot for standardbearer 5x7 /13x18 Green i dots White lateralshift on With F/S back j or. -
Downloading of Results Through Search Logs from a Commercial Image Provider
This publication is made freely available under ______ __ open access. AUTHOR(S): TITLE: YEAR: Publisher citation: OpenAIR citation: Publisher copyright statement: This is the ______________________ version of an article originally published by ____________________________ in __________________________________________________________________________________________ (ISSN _________; eISSN __________). OpenAIR takedown statement: Section 6 of the “Repository policy for OpenAIR @ RGU” (available from http://www.rgu.ac.uk/staff-and-current- students/library/library-policies/repository-policies) provides guidance on the criteria under which RGU will consider withdrawing material from OpenAIR. If you believe that this item is subject to any of these criteria, or for any other reason should not be held on OpenAIR, then please contact [email protected] with the details of the item and the nature of your complaint. This publication is distributed under a CC ____________ license. ____________________________________________________ ANALYSING CREATIVE IMAGE SEARCH INFORMATION NEEDS Elena Konkova1, Andrew MacFarlane1 and Ayse Goker2 1Department of Computer Science, City University London, London EC1V 0HB 2School of Computing Science and Digital Media, Robert Gordon University, Garthdee Road, Aberdeen, AB10 7QB ABSTRACT Creative professionals in advertising, marketing, design and journalism search for images to visually represent a concept for their project. The main purpose of this paper is to present an analysis of documents known as briefs to find search facets, which are widely used in creative industries as a requirements document to describe an information need. The briefs specify the type of image required, such as the content and context of use for the image, and represent the topic from which the searcher builds an image query. -
Calumet's Digital Guide to View Camera Movements
Calumet’sCalumet’s DigitalDigital GuideGuide ToTo ViewView CameraCamera MovementsMovements Copyright 2002 by Calumet Photographic Duplication is prohibited under law Calumet Photographic Chicago IL. Copies may be obtained by contacting Richard Newman @ [email protected] What you can expect to find inside 9 Types of view cameras 9 Necessary accessories 9 An overview of view camera lens requirements 9 Basic view camera movements 9 The Scheimpflug Rule 9 View camera movements demonstrated 9 Creative options There are two Basic types of View Cameras • Standard “Rail” type view camera advantages: 9 Maximum flexibility for final image control 9 Largest selection of accessories • Field or press camera advantages: 9 Portability while maintaining final image control 9 Weight Useful and necessary Accessories 9 An off camera meter, either an ambient or spot meter. 9 A loupe to focus the image on the ground glass. 9 A cable release to activate the shutter on the lens. 9 Film holders for traditional 4x5 film holder image capture. 9 A Polaroid back for traditional test exposures, to check focus or final art. VIEW CAMERA LENSES ARE DIVIDED INTO THREE GROUPS, WIDE ANGLE, NORMAL AND TELEPHOTO WIDE ANGLES LENSES WOULD BE FROM 38MM-120MM FOCAL LENGTHS FROM 135-240 WOULD BE CONSIDERED NORMAL TELEPHOTOS COULD RANGE FROM 270MM-720MM FOR PRACTICAL PURPOSES THE FOCAL LENGTHS DISCUSSED ARE FOR 4X5” FORMAT Image circle- The black lines are the lens with no tilt and the red lines show the change in lens coverage with the lens tilted. If you look at the film plane, you can see that the tilted lens does not cover the film plane, the image circle of the lens is too small with a tilt applied to the camera. -
Big Bertha/Baby Bertha
Big Bertha /Baby Bertha by Daniel W. Fromm Contents 1 Big Bertha As She Was Spoke 1 2 Dreaming of a Baby Bertha 5 3 Baby Bertha conceived 8 4 Baby Bertha’s gestation 8 5 Baby cuts her teeth - solve one problem, find another – and final catastrophe 17 6 Building Baby Bertha around a 2x3 Cambo SC reconsidered 23 7 Mistakes/good decisions 23 8 What was rescued from the wreckage: 24 1 Big Bertha As She Was Spoke American sports photographers used to shoot sporting events, e.g., baseball games, with specially made fixed lens Single Lens Reflex (SLR) cameras. These were made by fitting a Graflex SLR with a long lens - 20" to 60" - and a suitable focusing mechanism. They shot 4x5 or 5x7, were quite heavy. One such camera made by Graflex is figured in the first edition of Graphic Graflex Photography. Another, used by the Fort Worth, Texas, Star-Telegram, can be seen at http://www.lurvely.com/photo/6176270759/FWST_Big_Bertha_Graflex/ and http://www.flickr.com/photos/21211119@N03/6176270759 Long lens SLRs that incorporate a Graflex are often called "Big Berthas" but the name isn’t applied consistently. For example, there’s a 4x5 Bertha in the George Eastman House collection (http://geh.org/fm/mees/htmlsrc/mG736700011_ful.html) identified as a "Little Bertha." "Big Bertha" has also been applied to regular production Graflexes, e.g., a 5x7 Press Graflex (http://www.mcmahanphoto.com/lc380.html ) and a 4x5 Graflex that I can’t identify (http://www.avlispub.com/garage/apollo_1_launch.htm). These cameras lack the usual Bertha attributes of long lens, usually but not always a telephoto, and rapid focusing. -
TESSERACT -- Antique Scientific Instruments
TESSERACT Early Scientific Instruments Special Issue: OPTICAL PLEASURES Catalogue One Hundred Seven Summer, 2018 $10 CATALOGUE ONE HUNDRED SEVEN Copyright 2018 David Coffeen CONDITIONS OF SALE All items in this catalogue are available at the time of printing. We do not charge for shipping and insurance to anywhere in the contiguous 48 states. New York residents must pay applicable sales taxes. For buyers outside the 48 states, we will provide packing and delivery to the post office or shipper but you must pay the actual shipping charges. Items may be reserved by telephone, and will be held for a reasonable time pending receipt of payment. All items are offered with a 10-day money-back guarantee for any reason, but you pay return postage and insurance. We will do everything possible to expedite your shipment, and can work within the framework of institutional requirements. The prices in this catalogue are net and are in effect through December, 2018. Payments by check, bank transfer, or credit card (Visa, Mastercard, American Express) are all welcome. — David Coffeen, Ph.D. — Yola Coffeen, Ph.D. Members: Scientific Instrument Society American Association for the History of Medicine Historical Medical Equipment Society Antiquarian Horological Society International Society of Antique Scale Collectors Surveyors Historical Society Early American Industries Association The Oughtred Society American Astronomical Society International Coronelli Society American Association of Museums Co-Published : RITTENHOUSE: The Journal of the American Scientific Instrument Enterprise (http://www.etesseract.com/RHjournal/) We are always interested in buying single items or collections. In addition to buying and selling early instruments, we can perform formal appraisals of your single instruments or whole collections, whether to determine fair market value for donation, for insurance, for loss, etc. -
17-217-Stilllife-Booklet.Pdf
themes (flower and fruit still lifes), to modern interpretations of the vanitas symbols (constructions with objects that refer to our everyday surroundings) to nearly abstract, three-dimensional still lifes in the exhibition space. Photography in the Netherlands has In 2011 Foam is celebrating its tenth had a tradition of experimenting with anniversary. The museum first opened staged photography since the 1970s. its doors in 2001 with the Dutch Delight The still life has also been a major theme exhibition, taking ‘Dutch Light’ as its in this tradition. Exaggeration and central subject. It was a typically Dutch enlargement are devices which originat- historical art theme, for which Dutch ed from advertising and much of the painting is famous the world over. Now, staged photography of that time was Still/ in Still/Life – Contemporary Dutch inspired by conceptual as well as adver- Photography, Foam has put together tising photography. an exhibition comprised of work by Many of the photographers in this Dutch photographers giving surprising exhibition also work at this juncture. interpretations of another classic They move easily between established subject in Dutch art history: the still life. art institutions, the editorial world of The still life could be considered magazines and publications, and the a composition of lifeless, impassive commercial advertising sphere. A clear, Life objects. Although the Romans painted recognisable style can be seen in both the first still lifes, the genre mainly their personal and their commercial became known through 17th-century work, such as that of so-called ‘Dutch Dutch and Flemish paintings. These Design’ which alludes to a typically paintings can often be categorised by Dutch design aesthetic: minimalist, Contemporary subject: still lifes with flowers, still lifes experimental, innovative, unconventional of food on richly laid-out tables and and with humour.