Digiscoping―Getting Close from Far Away from Photographing Nature in Alaska (2010) by Robert H
Digiscoping―Getting Close from Far Away from Photographing Nature in Alaska (2010) by Robert H. Armstrong Fujifilm FinePix 4700, Kowa scope with 20 power objective, f/2.8 at 1/74 second, ISO equivalent 200, minus 0.9 exposure compensation, from a calculated 231 feet away. Bald Eagle with young. This was one of my first experiences with digiscoping. I was quite pleased to be able to photograph the nest full-frame from so far away. I especially liked the scene of the parent taking a snooze with the very alert youngster nearby. 29 Digiscoping is taking pho- tos using a small digital camera mounted on a spotting scope. This setup can easily give you a lens equivalent of about 2,300 mm. That’s a very high magnification when you consider the biggest telephoto lenses for regular cameras are usually smaller than 1,000 mm and generally around 400 – 600 mm. Also, digiscoping equipment costs much less than high-quality large telephoto lenses and often weighs much less. Digiscoping allows you to photograph most wildlife from a considerable distance without disturbing them. From 40 feet away you can get close-up photos of songbirds. You can be more especially enjoy the way digiscoping Nikon Coolpix 995 digital camera. than 200 feet away for larger birds allows me to photograph birds (Some people seem to have trouble such as Great Blue Herons and at their nests without disturbing digiscoping with the newer model Bald Eagles. And you can be much them. 4500. I’m not sure why, but perhaps farther away for large mammals it is related to having a higher such as mountain goats and bears.
4K ULTRA HD ACTION CAMERA MODELS: GDV485SL SILVER GDV485BL BLUE FOREWORD The product is a high-end high definition and athletic camping product. This product has many functions,such as digital video photography, slow photography, voice, video display and a removable battery. Besides, the functions of outdoor sports, home security and deep waterproof can meet any need of photographing. ATTENTION 1. This is a high-precision product, please do not let it fall or strike it. 2. Please do not allow the camera to be near objects with strong-mag- netic fields, such as strong magnets and power-driven machines. In addition, please also avoid objects that can send out strong radio waves. Strong magnetic fields may cause product breakdown, loss of data, and/or destroy the image and sound. 3. Please do not place the camera in direct sunlight. 4. Please choose a reliable Micro SD card with a trusteed brand, because generic card compatibility can not be guaranteed. 5. During the process of charging the battery, if the product gives off heat and smoke, or gives off a peculiar smell, immediately unplug the power to avoid a fire. 6. When charging the battery, please place the product in places children can not reach as the power cable is a potential risk for suffocation and electric shock. 7. Please try to keep the product in shaded, dry and insulated places. 2 PRODUCT DIAGRAM CHARGING INDICATOR LED WORKING INDICATOR LED DISPLAY OK INDICATOR LED POWER/MODE UP/WI-FI LENS DOWN SPEAKER 3 PRODUCT DIAGRAM MIC LENS MICRO SD USB HDMI OUT OK POWER/MODE WATERPROOF CASE LOCK UP/WIFI LENS DOWN * w/ Waterproof Casing 4 ACCESSORIES 4K ULTRA HD CAMERA MODELS: GDV485SL SILVER GDV485BL BLUE 5 ACCESSORIES (APPLICATIONS) 6 OPERATING GUIDE INSERT A MICRO SD CARD NOTE:Please choose a Micro SD card with a trusted brand and use it after properly format- ting on a computer.
FREE A D V E N T U R E S A N D PHOTOGRAPHY NOW M A R Y A M 27 EISLER OBSESSION Trinity Hall, Cambridge, 1983 Photograph by Dafydd Jones The Last Hurrah Eighties Photographs by Dafydd Jones Print Room Photographers’ Gallery 3 August - 7 September Print Sales Gallery The Photographers’ Gallery 16-18 Ramillies Street, London W1F 7LW T: +44 (0207) 087 9320 thephotographersgallery.org.uk/ @tpgprintsales CAPTURED BY DAFYDD JONES i SPY dj@state-media.com James and Claire Hyman Tim Attias Tamara Beckwith Martin Parr Dylan Jones Michael Hoppen Dougie Wallace Chloe Dewe Matthews James Danziger Tim Jeffries Tom Hunter Bruce Gilden Terry O’Neill Photo London 2018 Somerset House Francis Hodgson Jillian Edelstein Gabriel Speechly 6 | F22 COVER IMAGE | ISSUE 27 CONTENTS | 27 Cover Story Maryam Eisler After Fragonard 2017 From the artist’s on-going series in search of the ‘femine sublime’ JOHN FRENCH the Fifties mentor of so many famous 12 snappers - now all but forgotten NADAV KANDER Journeys with a camera to record the 22 philosophy and moods of moving water SERPENTINE PARTY famously revived and 06 I-SPY 08 SNAPSHOTS 16 COVER FEATURE 14 glitzed up by the collaboration with Vanity Fair EDITOR CORRESPONDENTS PEOPLE | PLACES | PROJECTS Mike Von Joel Kate Enters mvj@state-media.com Lou Proud f22 Magazine is available at selected galleries, Holly Howe libraries, art schools, museums and other art venues across the UK. PUBLISHERS SPECIAL Karl Skogland CORRESPONDENTS TOTALLY FREE, f22 is not a dull We value your kos@state-media.com review magazine - it is about comments.
Handling Instructions 1. This product should be handled with care: avoid letting the product slip, fall, or be struck. 2. Do not hold or place the camera near objects that emit strong magnetic, electromagnetic, or radio waves. Doing so may affect the quality of the image and sound capture. 3. Do not put the camera in direct sunshine or places with excessively high temperatures. 4. Use trusted branded Micro SD cards with this camera, as not all Micro SD cards are guaranteed to be compatible for use with this camera. 5. Avoid placing the Micro SD card in or close to objects or places that give off strong magnetic interference. Doing so may cause data loss. 6. If the product gives off heat, smoke, and/or an unusual smell when charging the battery, immediately unplug the camera from the power outlet to prevent a fire from occurring. 7. When charging the battery, plug into power outlets where children cannot touch, as touching may cause electric shock. 8. Store the camera in insulated places at room temperature and away from direct sunlight and strong electromagnetic waves. Camera Diagram Operating Guide Adding or Removing MicroSD Card Using the camera diagram below, insert or remove the SD card as shown below: Attention:Turn off the camera when adding or removing the MicroSD card. This camera supports Micro SD card above class 6. Please use the high speed TF above class 10 at professional video mode. Inserting or Removing Battery Move the battery cover down and then open it. Install the battery into the camera properly according to the signs of the positive and negative in the battery, and the direction of the arrow.
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 .....
Engineering and Urology Society 29th Annual Meeting Saturday May 17th, 2014 Orlando, FL http://engineering-urology.org/ The Engineering and Urology Society offers a unique opportunity for collaboration where engineering innovation meets clinical demand. This leads to an unparalleled exchange of ideas and routes to address clinical problems with engineering solutions. The ultimate forum where these interchanges occur is at the Annual Meeting of the Engineering and Urology Society held in conjunction with the Annual American Urological Association Meeting. The EUS meeting is also the only dedicated section of the Endourology Society at the AUA. The Annual Meeting of the Engineering and Urology Society offers the delegates an opportunity to present and learn about the latest research developments in urologic technology. The morning session consists of state of the art lectures and discussions in cutting-edge areas of technology. The afternoon poster sessions and ever-growing subgroup meetings allow members to present their work, discuss, and obtain further feedback and ideas from fellow technophiles. This year’s 29th Annual Meeting will take place on May 17th, and has been organized by program chairmen Stavros Gravas, Bodo Knudsen, and M. Pilar Laguna. The morning sessions will begin with a thought- provoking discussion on the intersection of lab training and new imaging technology and urology. Following that, the spotlight is turned to advances in evidence making in uro-technology. Next, colleagues from the European Association of Urology (EAU), Uro-Technology section (ESUT) will present developments for new endoscopic instrumentation. After the lunch break, a brand-new session on “Innovations in Urology” will be held at the Science & Technology Hall, highlighting the grant and patent application processes which are an integral part of engineering and urology.
Astrophotography: Tips, Tricks, and Techniques Clay S. Turner Sept. 24, 2011 Astrophotography without a Telescope • Use camera on a tripod • Use remote shutter release • Do long exposures with large apertures (“Fast Lenses”) • Include landscape with sky to make image interesting. • Modern low noise DSLRs allow high ISOs to facilitate short exposures. Yellowstone National Park Lowell Observatory Iridium Flares Lowell Observatory Piggyback Astrophotography • Here you attach your camera onto a telescope to use the scope’s tracking. • Camera uses its own lens and not the scope’s optics. • Useful for medium to large areas of the sky. Shot with DSLR and 180 mm lens Three basic ways to image through your telescope. • Prime Focus • Eyepiece Projection • Afocal Photography Prime Focus Imaging • The telescope’s objective is used in place of a “long lens” in photography. Thus the camera, sans lens, is connected where the eyepiece normally goes. • DSLRs are usually used in this mode of Astro-Imaging. • Preferred method of imaging by professional astronomers. Eyepiece Projection • Just like with Prime Focus photography, a camera is used without its lens. But in this case the eyepiece is used to magnify and project the image onto the camera’s sensor (film). • There are special adaptors that will contain the eyepiece and also hold the camera with variable spacing (magnification) permitted. Afocal Photography • In this case the telescope with its eyepiece is focused so an observer while looking into the eyepiece sees the object clearly. Then a camera with a lens is then used to image the object while looking into the eyepiece. Birders often call this technique “digiscoping.” Simple low cost “point and shoot” cameras may be used this way.
– Huw Davies Gallery 5 - 29 April 2018 Artefact Kim Sinclair – Image: Tutu, 2018, gum over cyanotype, 10.5 x 12.5cm – ‘It’s always been my philosophy to try to make art out of the everyday and ordinary…it never occurred to me to leave home to make art.’ – Sally Mann All around us there are references to the benefits of living ‘slowly’. Whether it is slow food, slow fashion or slow travel, the slow movement has gained pace in recent years, a reaction to our increasingly time-pressured and interconnected world. Slow photography—which sees artists use manual techniques and processes—is one aspect of this movement. It underpins Kim Sinclair’s exhibition Artefact. Sinclair draws on early photographic techniques to create a series of toned Cyanotype and Vandyke prints. This is nothing new for her, as Sinclair has been working with handcrafted, nineteenth-century processes since she began formal study of photography in her native Canada more than twenty years ago. In this solo exhibition she seeks to redress what she sees as the ‘de-valuing the photograph as an object’ that has occurred as a consequence of the digital photography movement. Artefact is driven by a deep interest in pre-digital photographic processes. Sinclair worked with a large-format analogue camera and shot her series on her property in the Canberra region. To create a Cyanotype the paper is coated with a light- sensitive chemical solution, the negative is then sandwiched on the paper under glass and exposed to ultraviolet light, then processed in a water bath revealing a rich blue-toned print the same size as the negative (it is from this process that blue prints can also be made).
Instruction Manual Cassini 76 DOB English version 8.2014 Rev A 1 The Zoomion® Cassini 76 DOB Congratulations on the purchase of the new Zoomion® Cassini 76 DOB. This small telescope will give you hours of fun, with its all optical glass mirror and super compactness, and it is the ideal companion to start in the world of amateur astronomy. With this telescope you will be able to see the craters on the Moon, star clusters, some nebulae and a glimpse of the Jupiter disc features and its Galilean moons and the rings of Saturn. We have included many accessories so it will be easy to use this telescope. 1. Included parts we have included several accessories that will make the use of the telescope easier and fun, please take a look at the list of the parts so you can identify them in the future. 1. 1.5x Erecting Lens; 2. 2x magnification Barlow Lens; 3, 4, 5 and 6. Four eyepieces 1.25” (31.75mm); a H20mm, H12.5mm, H6mm and a SR4mm eyepiece; 2. Getting Started. It is very simple to get started. Here is how the telescope works. The telescope aperture should point to the object being observed. The mirror on back of the tube will gather the light coming from the object and reflects it to the secondary mirror that brings it to the eyepiece. Close to the aperture there is the focuser. The focuser moves up and down to get a precise focused image. At the focuser one can use the supplied accessories. Different accessories combinations give different results, such as different image magnifications or correct image for example.
Queensland Centre for Photography Somewhere Between the Making, the Idea and Dreaming: Post-Technology Photography
Seven Japanese Pinhole Photographers ALT. Eight Alternative Queensland Photographers Queensland Centre for Photography Somewhere between the making, the idea and dreaming: Post-technology Photography Ban lenses and viewfinders. Ban your auto-wind buzzy-flashing built in obsolescence jewellery. Give up aspiring to the conventional. Play with light, rediscover your vision and party. Justin Quinnell1 talking about pinhole photography Who would have thought that age old processes along with out dated technology would have any relevance in the seamless slick technological digital image world. Or even that the latest digital technology could become hijacked as a mere emulator of the appearance of old time photos. With its arcane history of chemicals, darkrooms and focussing cloths photography is now morphing into a brave new emancipated world where everything old can be new again and anything goes. Many photographers find this review of processes and technologies liberating—providing an alternative avenue for exploring photography often resulting in the excitement of discovering new visions. A recent popular photobook on the Holga2 camera illustrates a kaleidoscope of visual imagery created with this simple plastic camera. In the introduction to the book Adam Scott exemplifies this method of working, “I had already been shooting for many years with single lens reflex cameras and was Macoto Matsushima, courtesy of the artist. Yasuko Oki, courtesy of the artist. beginning to get bored of photography, but the Holga reopened my eyes and injected me with new love, I felt as though I had discovered a new sense or a new colour.”3 Into this argument steps curator Ian Poole with this exhibition entitled ALT.
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.