Photography Vocabulary
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A Quick Guide to HDR Photography
A quick guide to HDR photography PUBLISHED - 15 AUG 2017 Make sure that what your eye sees is what your camera captures, by using HDR in contrasty light situations. HDR – high dynamic range – imaging enables your camera to create an image that captures all the range of contrast in a scene, from the depths of the shadows to the highlights of the brightest areas. This is essentially how your eyes see, but it's a tall order for a camera to record the furthest ends of such a drastic range – if you meter for the highlights (the bright areas), you might lose detail in the shadow areas of the scene, while the other way round you risk 'blown-out' highlights. A common example is a well-exposed room interior flooded with light from the windows. If you expose to capture what's outside those windows, the room's details will be lost in shadow. Another is when shooting outdoors: the sunlight that creates bright highlights will also create dark shadows, but expose for one and you'll lose detail in the other. When you make an HDR image, on the other hand, what you see is what you're going to get, because you create it with a series of bracketed exposures to capture both the highlights and the shadow detail. 1 of 3 © NIKON SCHOOL Built-in HDR Some Nikon DSLRs have a built-in HDR mode that does it for you. Available when shooting JPEG only, it automatically takes two quick shots – the first slightly underexposed (darker) and the second exposure slightly overexposed (brighter) – then combines them in-camera to create one well-balanced, tonally wide-ranging image. -
Still Photography
Still Photography Soumik Mitra, Published by - Jharkhand Rai University Subject: STILL PHOTOGRAPHY Credits: 4 SYLLABUS Introduction to Photography Beginning of Photography; People who shaped up Photography. Camera; Lenses & Accessories - I What a Camera; Types of Camera; TLR; APS & Digital Cameras; Single-Lens Reflex Cameras. Camera; Lenses & Accessories - II Photographic Lenses; Using Different Lenses; Filters. Exposure & Light Understanding Exposure; Exposure in Practical Use. Photogram Introduction; Making Photogram. Darkroom Practice Introduction to Basic Printing; Photographic Papers; Chemicals for Printing. Suggested Readings: 1. Still Photography: the Problematic Model, Lew Thomas, Peter D'Agostino, NFS Press. 2. Images of Information: Still Photography in the Social Sciences, Jon Wagner, 3. Photographic Tools for Teachers: Still Photography, Roy A. Frye. Introduction to Photography STILL PHOTOGRAPHY Course Descriptions The department of Photography at the IFT offers a provocative and experimental curriculum in the setting of a large, diversified university. As one of the pioneers programs of graduate and undergraduate study in photography in the India , we aim at providing the best to our students to help them relate practical studies in art & craft in professional context. The Photography program combines the teaching of craft, history, and contemporary ideas with the critical examination of conventional forms of art making. The curriculum at IFT is designed to give students the technical training and aesthetic awareness to develop a strong individual expression as an artist. The faculty represents a broad range of interests and aesthetics, with course offerings often reflecting their individual passions and concerns. In this fundamental course, students will identify basic photographic tools and their intended purposes, including the proper use of various camera systems, light meters and film selection. -
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Equipment Evaluation and Design of a Geologically-Oriented Photographic Facility for the Department of Geology and Mineralogy at The Ohio State University SENIOR THESIS-- Presented in fulfillment of requirement for the Bachelor of Science Degree at The Ohio State University Research and compilation by Cecil D. Applegate December 14, 1973 ApproJ. b~:°;l, /. £= •· · · {l !1. ·· Advisor...... ·· ·u· ·· · · · · · · · · · partment of Geology & Mineralogy TABLE OF CONTENTS List of Illustrations ••••••••••••••••••••••••••••••••••••••••••• Acknowledgements. • • • • • • • • . • • • • • • • • . • • • • • . • • • • • • • • • • • • • • • . • • • • • • 2 Abstract•••••••••••••••••••••••••••••••••••••••••••••••••••••••• 3 Introductory Material••••••••••••••••••••••••••••••••••••••••••• 4 Introduction••••••••••••••••••••••••••••••••••••••••••••••• 5 History of Photography••••••••••••••••••••••••••••••••••••• 6 Basic Principles of Photography•••••••••••••••••••••••••••• 8 Geologic Applications of Photography ••••••••••••••••••••••• 11 Design of a Geologically-Oriented Photographic Facility ••••••••• 15 The Dark:room. • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • 1 6 The Enlarger. • • • • • • • • • • • . • • • . • . • • . • . • • • • • • . • • . • • . • • • . • • . • • 20 The Print Washer••••••••••••••••••••••••••••••••••••••••••• 23 Other Darkroom Accessories••••••••••••••••••••••••••••••••• 25 The Photographic Studio •••••••••••••••••••••••••••••••••••• 28 The Cameras •••••••••••••••••••••••••••••••••••••••••••••••• -
Photographic Films
PHOTOGRAPHIC FILMS A camera has been called a “magic box.” Why? Because the box captures an image that can be made permanent. Photographic films capture the image formed by light reflecting from the surface being photographed. This instruction sheet describes the nature of photographic films, especially those used in the graphic communications industries. THE STRUCTURE OF FILM Protective Coating Emulsion Base Anti-Halation Backing Photographic films are composed of several layers. These layers include the base, the emulsion, the anti-halation backing and the protective coating. THE BASE The base, the thickest of the layers, supports the other layers. Originally, the base was made of glass. However, today the base can be made from any number of materials ranging from paper to aluminum. Photographers primarily use films with either a plastic (polyester) or paper base. Plastic-based films are commonly called “films” while paper-based films are called “photographic papers.” Polyester is a particularly suitable base for film because it is dimensionally stable. Dimensionally stable materials do not appreciably change size when the temperature or moisture- level of the film change. Films are subjected to heated liquids during processing (developing) and to heat during use in graphic processes. Therefore, dimensional stability is very important for graphic communications photographers because their final images must always match the given size. Conversely, paper is not dimen- sionally stable and is only appropriate as a film base when the “photographic print” is the final product (as contrasted to an intermediate step in a multi-step process). THE EMULSION The emulsion is the true “heart” of film. -
US Army Photography Course Laboratory Procedures SS0509
SUBCOURSE EDITION SS0509 8 LABORATORY PROCEDURES US ARMY STILL PHOTOGRAPHIC SPECIALIST MOS 84B SKILL LEVEL 1 AUTHORSHIP RESPONSIBILITY: SSG Dennis L. Foster 560th Signal Battalion Visual Information/Calibration Training Development Division Lowry AFB, Colorado LABORATORY PROCEDURES SUBCOURSE NO. SS0509-8 (Developmental Date: 30 June 1988) US Army Signal Center and Fort Gordon Fort Gordon, Georgia Five Credit Hours GENERAL The laboratory procedures subcourse is designed to teach tasks related to work in a photographic laboratory. Information is provided on the types and uses of chemistry, procedures for processing negatives and prints, and for mixing and storing chemicals, procedures for producing contact and projection prints, and photographic quality control. This subcourse is divided into three lessons with each lesson corresponding to a terminal learning objective as indicated below. Lesson 1: PREPARATION OF PHOTOGRAPHIC CHEMISTRY TASK: Determine the types and uses of chemistry, for both black and white and color, the procedures for processing negatives and prints, the procedures for mixing and storing chemicals. CONDITIONS: Given information and diagrams on the types of chemistry and procedures for mixing and storage. STANDARDS: Demonstrate competency of the task skills and knowledge by correctly responding to at least 75% of the multiple-choice test covering preparation of photographic chemistry. (This objective supports SM tasks 113-578-3022, Mix Photographic Chemistry; 113-578-3023, Process Black and White Film Manually; 113-578-3024, Dry Negatives in Photographic Film Drier; 113-578-3026, Process Black and White Photographic Paper). i Lesson 2: PRODUCE A PHOTOGRAPHIC PRINT TASK: Perform the procedures for producing an acceptable contact and projection print. -
Color Printing Techniques
4-H Photography Skill Guide Color Printing Techniques Enlarging Color Negatives Making your own color prints from Color Relations color negatives provides a whole new area of Before going ahead into this fascinating photography for you to enjoy. You can make subject of color printing, let’s make sure we prints nearly any size you want, from small ones understand some basic photographic color and to big enlargements. You can crop pictures for the visual relationships. composition that’s most pleasing to you. You can 1. White light (sunlight or the light from an control the lightness or darkness of the print, as enlarger lamp) is made up of three primary well as the color balance, and you can experiment colors: red, green, and blue. These colors are with control techniques to achieve just the effect known as additive primary colors. When you’re looking for. The possibilities for creating added together in approximately equal beautiful color prints are as great as your own amounts, they produce white light. imagination. You can print color negatives on conventional 2. Color‑negative film has a separate light‑ color printing paper. It’s the kind of paper your sensitive layer to correspond with each photofinisher uses. It requires precise processing of these three additive primary colors. in two or three chemical solutions and several Images recorded on these layers appear as washes in water. It can be processed in trays or a complementary (opposite) colors. drum processor. • A red subject records on the red‑sensitive layer as cyan (blue‑green). • A green subject records on the green‑ sensitive layer as magenta (blue‑red). -
Digital Camera Basics Slides
DIGITAL CAMERA BASICS BRIC AGENDA • Part 1: Camera Basics • Part 2: Composition PART 1: CAMERA BASICS • The exposure triangle • Depth of field, macro, focus • Shooting modes: Automatic, AV, TV, Manual • White balance • Holding the camera, angles, position THE EXPOSURE TRIANGLE LIGHT METER THE EXPOSURE TRIANGLE: ISO • Film speed, sensor sensitivity: 100, 200, 400, 800, 1600, 3200 • Each setting is double or half the brightness than the previous • Low ISO = sharper pictures • High ISO = lowers the light you need • Trade off: while it offers more flexibility, the higher the ISO, the grainier the picture THE EXPOSURE TRIANGLE: ISO ISO 100 ISO 3200 from digital photography school THE EXPOSURE TRIANGLE: ISO A few questions to ask yourself: 1. Do I have a tripod? 2. Do I want a grainy shot? 3. How is the light? 4. Is the subject still or moving around? Situations where you may need a higher ISO: 1. Indoor sporting events 2. Concerts, galleries, churches 3. Birthdays, or dinners THE EXPOSURE TRIANGLE: ISO Rules of thumb: Use a tripod if you can Try to shoot with the lowest ISO possible Rest camera on a solid surface if there's no tripod Hold your breath LET'S TRY IT! Set your camera to the following manual settings: Shutter Speed: 1/60 Aperature: 2.8 ISO: Shoot the same object four times with four different ISO settings, write down which picture has which ISO. What do you notice? THE EXPOSURE TRIANGLE: SHUTTER SPEED THE EXPOSURE TRIANGLE: SHUTTER SPEED Refers to how much time the shutter is open (in seconds) 1/4000, 1/2000, 1/1000, 1/500, 1/250, -
Making the Transition from Film to Digital
TECHNICAL PAPER Making the Transition from Film to Digital TABLE OF CONTENTS Photography became a reality in the 1840s. During this time, images were recorded on 2 Making the transition film that used particles of silver salts embedded in a physical substrate, such as acetate 2 The difference between grain or gelatin. The grains of silver turned dark when exposed to light, and then a chemical and pixels fixer made that change more or less permanent. Cameras remained pretty much the 3 Exposure considerations same over the years with features such as a lens, a light-tight chamber to hold the film, 3 This won’t hurt a bit and an aperture and shutter mechanism to control exposure. 3 High-bit images But the early 1990s brought a dramatic change with the advent of digital technology. 4 Why would you want to use a Instead of using grains of silver embedded in gelatin, digital photography uses silicon to high-bit image? record images as numbers. Computers process the images, rather than optical enlargers 5 About raw files and tanks of often toxic chemicals. Chemically-developed wet printing processes have 5 Saving a raw file given way to prints made with inkjet printers, which squirt microscopic droplets of ink onto paper to create photographs. 5 Saving a JPEG file 6 Pros and cons 6 Reasons to shoot JPEG 6 Reasons to shoot raw 8 Raw converters 9 Reading histograms 10 About color balance 11 Noise reduction 11 Sharpening 11 It’s in the cards 12 A matter of black and white 12 Conclusion Snafellnesjokull Glacier Remnant. -
Owner's Manual Read Before Using
Preparation Basic Advance Read before using Owner’s Manual this camera. Mode Thank you for purchasing this product. Please follow the instructions given in this manual carefully. Features d The 28mm F2.8 and 38mm F2.8 SUPER-EBC FUJINON lens delivers high quality images. d The program AE mode offers beginners easy photo taking while the aperture AE mode widens the range of expression. d High-speed shutter up to 1/500 sec. with aperture setting of F2.8 enables various photos to be taken. d The viewfinder display shows all functions you need such as shutter speed (in 1/2 step) and the exposure modes. d Versatile aperture techniques realized with the easy-to-use exposure compensation dial and AEB (Auto Exposure Bracketing) function. d The separate AF lock button best suitable for snapshot photography d The film sensitivity mode enables you to set the film speed (ISO) manually. d N mode generates “natural” photos with non-flash shooting while using an ultra-sensitive film. Accessories The product includes following accessories. Make sure to check the contents of the package. Lithium battery CR2 (1) Owner’s Manual (this document) (1) Neck Strap (1) Warranty Certificate (1) 2 Contents Features ......................................... 2 Mode Important Safety Notice .......................... 4 Selecting Modes ............................. .40 Part Names. ..................................... 6 List of Modes ................................ .43 Preparation Selecting Flash Mode ........................ .44 e AEB (Auto Exposure Bracketing) Attaching the Strap........................... .12 Photography . 48 Loading the Battery .......................... .12 m Manual-Focus Photography . 52 Turning the Camera ON ...................... 14 b Bulb Photography . 56 Turning the Camera OFF..................... 14 T Self Timer Photography . -
I the Journal of \ Photographic Science
i- i The Journal of i \ Photographic Science SEP 15 1969 JULY / AUGUST 1969 • • ' !, ' • ,, , ': • I I VOLUME 17 NUMBER 4 • 0 • • • . ... CONTENTS PHOTOGRAPHY AND PHOTOGRAVURE: HISTORY OF PHOTOMECHANICAL REPRODUCTION E. OSTROFF THE RELATIONSHIP BETWEEN SPEED AND GRAIN SIZE G. C. FARNELL MICROIMAGE PHOTORESIST EVALUATION K. G. CLARK and R. G. TURNER HIGH SPEED PHOTOGRAPHIC STUDY OF LUBRICATED CONTACTS USING OPTICAL INTERFEROMETRY F. J. WESTLAKE and A. CAMERON FUTURE MEETINGS The Royal Photographic Society of Great Britain Ostroff: Photography and Photogravure 101 Photography and Photogravure: History of Photomechanical Reproduction EUGENE OSTROFF Curator of Photography, Smithsonian Institution, Washington, D.C. ABSTRACT. The first practicable photomechanical system-contact-screen photogravure-was invented in 1852 by W. H.F. Talbot of England. Many of the approaches introduced by Talbot are still used in current practice: contact cross-line "master" and "working" screens: metal plate etching through a bichromated gelatin emulsion: etching with ferric chloride solutions of different concentrations: and selective local etching for "retouching" purposes. To provide the tiny image ink-holding components in the printing plate, Talbot used fine gauze fabrics for the contact cross-line screens and fine resin particles (aquatint) applied as a powder or liquid. He also experimented with contact screens of ruled lines on paper: scored cartilage: waxed paper with scribed lines: aquatint pattern on paper and a blackened film with uniform grid of clear circular openings. INTRODUCTION By 1852, the year in which the first practicable photo- this coating was insufficient for camera exposures but ade- mechanical system was introduced, two different approaches quate for photogenic drawings (photograms) and contact had been devised-heliogravure (1826), and chemically etched printing. -
Black & White Photography PGY 3406C CRN:15845 Pre-Reqs
Photo by Keith Carter Black & White Photography PGY 3406C CRN:15845 Pre-reqs: PGY 2800C, ART 2600C, or permission of the department Florida Atlantic University- Fall 2018 VA 116 Tuesdays + Thursdays from 9-11:50am Professor: Sharon Lee Hart [email protected] Office Hours: Tuesdays/Thursdays 1-2pm and by appointment Course Description: This course concentrates on analog black and white photography and will utilize pinhole and film cameras. Initially the focus is on the acquisition of necessary technical skills in printing, film processing, and darkroom practices. Through projects, readings and critiques, students will continue working on critical issues in photography as well as on composition and content. Analog/digital hybrid practices will be explored. A working 35mm film camera with manual controls and a tripod are required. Course Objectives: -Develop an understanding of the technical basics of B&W analog photography -Gain knowledge about creating compelling black and white imagery -Develop the ability to process and print 35mm film -Further develop the ability to use photography to communicate an idea visually. -Enhance critical writing skills and visual literacy that allow for the evaluation of the content and aesthetics of a photograph -Develop an appreciation for the medium through the study of past and contemporary photographers. -Gain/strengthen research skills. Learning Methods: Formal demonstrations, hands on practice, readings, lectures, research projects, class discussions, photographic assignments in and out of class and critiques. Attendance Students are expected to attend all of their scheduled University classes and to satisfy all academic objectives as outlined by the instructor. The effect of absences upon grades is determined by the instructor, and the University reserves the right to deal at any time with individual cases of non-attendance. -
Selected Photographic Techniques
/O 7* - NASA SP-5914(02) , U^^ COPY TECHNOLOGY UTILIZATION SELECTED PHOTOGRAPHIC TECHNIQUES A COMPILATION NATIONAL AERONAUTICS AND SPACE ADMINISTRATION Eoreword- The National Aeronautics and Space Administration and Atomic Energy Commission have established a Technology Utilization Program for the rapid dissemination of information on technological developments which have potential utility outside the aerospace and nuclear communities. By encouraging multiple application of the results of their research and development, NASA and AEC earn for the public an increased return on the investment in aerospace research and development programs. This publication is part of a series intended to provide such technical information. A selection has been made of methods, devices, and techniques developed in the field of photography during implementation of space and nuclear research projects. These items include many adaptations, variations, and modifications to standard hardware and practice, and should prove inter- esting to both amateur and professional photographers and photographic tech- nicians. This compilation is divided into two sections. The first section presents techniques and devices that have been found useful in making photolab work simpler, more productive, and higher in quality. Section two deals with modi- fications to and special applications for existing photographic equipment. Additional technical information on individual devices and techniques can be requested by circling the appropriate number on the Reader Service Card in- cluded in this compilation. Unless otherwise stated, NASA and AEC contemplate no patent action on the technology described. We appreciate comment by readers and welcome hearing about the relevance and utility of the information in this compilation. Technology Utilization Office National Aeronautics and Space Administration NOTICE • This document was prepared under the sponsorship of the National Aeronautics and Space Administration.