DOCSLIB.ORG

Arizona Territorial Stereography 1864.1906

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Arizona Territorial Stereography 1864.1906 STEREO1 A SECOND CATALOG OF 19th-CENTURY PHOTO BOOKS Fred & Elizabeth Pajerski announce the publication of antiquarian titles, such as Lea's Manual of Photography and their Literature on 19th-Century Photography, Catalogue W. Jerome Harrison's Chemistry of Photography (1892). No. 2. This catalogue contains over 700 titles, and includes More recent publications are Fritz Kempe's Daguerreotype in-print and out-of-print monographs, treatises, histories, in Deutschland, a survey of the German daguerreotype; and and exhibition catalogues. Catalogue No. 2 continues to Eugene OstrofPs Conserving and Restoring Photographic provide for the extensive distribution of materials on all Collections, practical advice for the care and maintenance aspects of 19th-century photography. of collections. Monographs on individual photographers remain a Additional antiquarian titles are the excerpt from the primary focus of this list. New titles include monographs on Congressional Record wherein Rand and Ordway offer to Delacroix and Zola as photographers; a sumptuous volume sell their Brady Collection to the U.S. Government; a copy on the Robert Lebeck collection; an exceptional presentation of the important Epstean Collection catalogue, with sup- on the work of the Cronise Studio, which operated in plements; and Oliver Wendell Holmes's Soundings from the Salem, Oregon, from 1880 to 1927; and a series on the carte- Pacific, which includes three essays on photography. de-visite collection amassed by Elisabeth, Empress of As the most extensive list of literature on 19th-century Austria. photography, Catalogue No. 2 presents a treasure-trove to A wide variety of regional histories continue to appear. the scholar, the photo-historian, and the interested Noteworthy for its stunning 370 photographic illustrations, connoisseur. many taken from stereograph Giews, is Michel Cabaud's For further information, contact Fred & Elizabeth Pajer- Paris et les parisiens sous le second empire. ski, 225 West 25th Street, 4k, New York, NY 10001; tel. Books devoted to photographic processes include many (212) 255-6501. NORTH AMERICA'S HISTORIC BUILDINGS By Neal Bullington The City Hall, Baltimore, Maryland This W.M. Chase view shows the city hall designed by wings. The walls are bluestone faced with cut marble. The George A. Frederick and built during the years of basement is raised and uses heavily rusticated stone. The 1867-1875. Located at 100 N. Holliday St., the hall is an ear- mansard roof is slate with marble dormers. Ownership is ly example of the French Renaissance Revival in this coun- municipal. try. The imposing structure consists of a center section 2% (See "The Stereo Negatives of W.M. Chase" STEREO stories high, surmounted by a dome and flanked by 3-story WORLD, May / June '83, page 12.) Copyright O 1986 By the NATIONAL STEREOSCOPIC ASSOCIATION ISSN 0191 - 4030 VOL. 13, NO. 1 MAR.IAPR. 1986 Board of Directors IN THIS ISSUE CHAIRMAN Louis H. Smaus Arizona Territorial Stereography 1864.1906 ................. 4 MEMBERS Paul Wing and T.K. Treadwell by Bruce Hooper Officers Not quite on the Level Stereo- PRESIDENT T.K. Treadwell The Mt. Washington Cog Railway 8 EDITOR, STEREO WORLD John Dennis ......................... SECRETARY John Weiler by Freeman Hepburn TREASURER William Eloe Some Thoughts on Viewer Quality-Past and Present ....... .16 GENERAL BUSINESS MANAGER by Paul Wing Linda S. Carter VICE-PRESIDENT FOR REGIONAL AFFAIRS An Adjustable Achromatic Stereo Viewer. ..................20 Tom Rogers by John Martz VICE-PRESIDENT FOR MEMBERSHIP Gene Sarazen-Stereogolfer .............................22 Donato Bracco by Laurance Wolfe A Sneak Preview-The 1986 NSA Convention Programs ......30 ART DIRECTOR Richard B. McClellan by Susan Pinsky CONTEMPORARY STEREOSCOPY David Starkman, William Shepard and Paul Wing Death on the East River-The Burning of the General Slocum .32 PUBLICATIONS Jack and Pat Wilburn by Richard C. Ryder STEREO WORLD is published bimonthly by the National Stereoscop~cAssociation, Inc. Box 14801, Columbus, Ohio43214 USA. Annual dues: $20-3rdclass US: $28-1st REGULAR FEATURES class US. Canada, and foreign surface: $40-international air mail. All memberships are based on the publishing Editorsview ............................................ 2 year of Stereo World, which begins in March and ends Comment 3 with the JanlFeb. issueof the next year. All new member. .............................................. ships received will commence with the MarchlApril issue Events .................................................3 of thecurrent calendar year. Write to the above address Thrills That Almost Touch You ........................... .15 if the backissues of thecurrent volumeare not desired. Mater~alIn lh~spubl~cal~on may not be reproduced wllhoul Profiles From Oblivion ................................. .18 wrttten oermtsslon of the NSA InC Theunknowns .........................................26 Newviews .............................................28 MEMBER Classifieds ............................................38 The Society-From the Society Notebook. .................40 INTERNATIONAL STEREOSCOPIC UNION COVER: "The Y.M.C.A. At Chateau-Thierry, France" Keystone No. 19157. From Nor- man B. Patterson's column in this issue, "Profiles from Oblivion"-a look at the long forgotten function of the YMCA dur- ing World War I as recorded by the Keystone View Co. copy to someone or tucked in a pocket when taking STEREO WORLD along on a trip, to work, or to a party in need of an in-depth conversation topic. Even if you have a better viewer for your own use, a few of these on hand could serve to provide a number of people with their first look at what STEREO WORLD is really about. American Editor's View Optical has made both a 5'/2" and 101/z" focal length ver- sion of the viewer with no indication of which is which stamped anywhere into the plastic of either version! Be sure to specify when ordering that you need the 101/2 "viewer (or the longer focal length). There are currently two mail order sources for the viewers: Mr. Poster, Box 1883, S. Hack, NJ 07606 and Reel 3-D Enterprises, Box 35, Duarte, CA 91010. HOW TO VIEW THE WORLD The first issue of a new volume seems an appropriate CARBUTT: PHOTO HISTORY DEEPER place to mention, for the sake of new members, what sorts THAN EASTMAN of viewing devices can be used to view the stereo pairs reproduced in STEREO WORLD and where they can be ob- The two reviews printed in the Nov./Dec. '85 issue said tained. "Free viewing" is of course a handy skill that most it all better than I can, but William Brey's new book John people (but nowhere near everyone) can learn, and we will Carbutt: On the Frontiers of Photography is the kind of ef- print an article with practice images in a coming issue. fort that deserves the attention, praise and encouragement Even if you can free view with the best of them, some sort of anyone interested in photography's complex and, in some of viewing device will be needed if you ever show your ways, unexplored history. This book is exactly the kind of issues of STEREO WORLD to friends and family. (And we historical research that needs to be done on a number of the certainly hope you do!) Collectors with a number of Holmes people and processes important to the development of both stereoscopes in various states of repair sometimes remove photography in general and stereography in particular. the tongue (that stick in front) and create a scope for easy George Eastman wasn't necessarily first with everything use with views printed in books and magazines. A less that popular histories would have you believe - the sections drastic move is to buy a stereoscope with a tongue that can on the perfection of the first dry plates and the first flexible be removed and replaced anytime. The Bioptor Stereoscope film in this book may surprise you. meets that requirement, as well as having no hood to NSA member Bill Brey has contributed several fine ar- obstruct eyeglasses. It appears in the catalog of Reel 3-D ticles to STEREO WORLD and was helped with informa- Enterprises, Box 35, Duarte, CA 91010. tion and views from several NSA members. There is simp- Various folding cardboard print viewers can be used ly no way that research of this quality and extent could be directly on magazine pages, but they are designed for stereo printed in any historical magazine or published as a separate pairs having images no wider than 2'/2" each. While some effort by photo-historical organizations like the NSA. of the pairs in STEREO WORLD fit that size, the true 100% Books like this happen because individuals like Bill Brey reproductions of vintage stereographs with their 3" wide im- spend their time and money on something that - somehow ages are simply too big for the 5"or so focal length of the - simply needs to be done. On top of it all, $1.00 is being folding viewers. The same holds true for the small plastic contributed to the NSA for every book sold to STEREO versions of aerial mapping stereoscopes. (The larger size WORLD readers. ("Mention you saw it here first .") The mapping viewers work fine but are fairly expensive). book is $19.95 ($1.00 shipping) from Willowdale Press, Box HOWEVER, one inexpensive viewer is available in the 3655, Cherry Hill, NJ 08034. form of the 101/2" focal length version of the plastic lorgnette print viewer from American Optical Company. (Illustrated John Elmer Underwood here.) While hardly a fine optical instrument, this classic "Realist Manual type" viewer works quite well for most peo- A direct and personal connection with stereonrauhv's ple (after a bit of fussing) for all the sizes of views printed past was lost latilast year with the death of John E under- in STEREO WORLD. Best of all, it can be mailed with a wood, student of stereo history, collector of stereo views, NSA member and son of Underwood & Underwood View Company founder Elmer Underwood.
Load more

Recommended publications
  • 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.
    [Show full text]
  • Elements of Screenology: Toward an Archaeology of the Screen 2006
    Repositorium für die Medienwissenschaft Erkki Huhtamo Elements of screenology: Toward an Archaeology of the Screen 2006 https://doi.org/10.25969/mediarep/1958 Veröffentlichungsversion / published version Zeitschriftenartikel / journal article Empfohlene Zitierung / Suggested Citation: Huhtamo, Erkki: Elements of screenology: Toward an Archaeology of the Screen. In: Navigationen - Zeitschrift für Medien- und Kulturwissenschaften, Jg. 6 (2006), Nr. 2, S. 31–64. DOI: https://doi.org/10.25969/mediarep/1958. Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Deposit-Lizenz (Keine This document is made available under a Deposit License (No Weiterverbreitung - keine Bearbeitung) zur Verfügung gestellt. Redistribution - no modifications). We grant a non-exclusive, Gewährt wird ein nicht exklusives, nicht übertragbares, non-transferable, individual, and limited right for using this persönliches und beschränktes Recht auf Nutzung dieses document. This document is solely intended for your personal, Dokuments. Dieses Dokument ist ausschließlich für non-commercial use. All copies of this documents must retain den persönlichen, nicht-kommerziellen Gebrauch bestimmt. all copyright information and other information regarding legal Auf sämtlichen Kopien dieses Dokuments müssen alle protection. You are not allowed to alter this document in any Urheberrechtshinweise und sonstigen Hinweise auf gesetzlichen way, to copy it for public or commercial purposes, to exhibit the Schutz beibehalten werden. Sie dürfen dieses Dokument document in public, to perform, distribute, or otherwise use the nicht in irgendeiner Weise abändern, noch dürfen Sie document in public. dieses Dokument für öffentliche oder kommerzielle Zwecke By using this particular document, you accept the conditions of vervielfältigen, öffentlich ausstellen, aufführen, vertreiben oder use stated above. anderweitig nutzen. Mit der Verwendung dieses Dokuments erkennen Sie die Nutzungsbedingungen an.
    [Show full text]
  • Wildlife Photography Tips by Chris Baker 2 Topics
    LET’S GET WILD! WILDLIFE PHOTOGRAPHY TIPS BY CHRIS BAKER 2 TOPICS • Equipment • Settings • Wildlife Habitats and Behavior • Shooting Tips • Post-processing • Final Tips 3 CAMERA BODY COMPARISON Portability/ Image Autofocus Quiet Customize Burst Weight/Size Quality Speed Shutter Controls Capability Point and Shoot Best Worst Worst Best Worst Worst Superzoom DSLR Worst Best Best Worst Best Best Slightly Better Mirrorless Best Better Best Best Best than DSLR 4 FULL FRAME VS CROP SENSOR • Crop sensor cameras have a natural magnification for a given focal length lens…great for wildlife! • Full frame cameras have better high ISO capability due to larger pixel sizes • Good for low light situations • Good when higher shutter speeds are required • Not as critical with good light 5 WILDLIFE LENSES • Typical wildlife photography setups use telephoto lenses with focal lengths >200mm • Quality telephoto zooms that won’t bust your budget and are hand-holdable • Nikon 200-500mm f/5.6 • Tamron 150mm-600mm f/5-6.3 • Sigma 150mm-600mm f/5-6.3 • Canon 100-400mm f/4.5-5.6L • Professional grade telephoto lenses are very expensive and require tripods or monopods • Prime (i.e. single focal length) lenses tend to focus faster and produce sharper images than zooms • Teleconverters (TCs) are an inexpensive alternative to increase focal length of a given lens 6.4 lbs 7.4 lbs 8.4 lbs 6.8 lbs 10.1 lbs • Decreases aperture • Decreases image quality • Decreases autofocus speed • Example: 200-500mm f/5.6 + 1.4x TC = 280-700mm f/8 6 WHAT’S IN MY BAG? • Cameras • Nikon D500 (APS-C DSLR) • Nikon Z6 II (Full Frame Mirrorless) • Lenses • Nikkor 500mm f/5.6 PF • Nikkor 70-200mm f/2.8G II • Te l e c o n v e r t e r s • Nikon TC-14E III • Nikon TC-20E III 7 EXPOSURE TRIANGLE REVIEW 8 CAMERA SETTINGS • Shutter priority (i.e.
    [Show full text]
  • The Positive and Negative Effects of Photography on Wildlife
    Gardner-Webb University Digital Commons @ Gardner-Webb University Undergraduate Honors Theses Honors Program 2020 The Positive and Negative Effects of Photography on Wildlife Joy Smith Follow this and additional works at: https://digitalcommons.gardner-webb.edu/undergrad-honors Part of the Photography Commons The Positive and Negative Effects of Photography on Wildlife An Honors Thesis Presented to The University Honors Program Gardner-Webb University 10 April 2020 by Joy Smith Accepted by the Honors Faculty _______________________________ ________________________________________ Dr. Robert Carey, Thesis Advisor Dr. Tom Jones, Associate Dean, Univ. Honors _______________________________ _______________________________________ Prof. Frank Newton, Honors Committee Dr. Christopher Nelson, Honors Committee _______________________________ _______________________________________ Dr. Bob Bass, Honors Committee Dr. Shea Stuart, Honors Committee I. Overview of Wildlife Photography The purpose of this thesis is to research the positive and negative effects photography has on animals. This includes how photographers have helped to raise awareness about endangered species, as well as how people have hurt animals by getting them too used to cameras and encroaching on their space to take photos. Photographers themselves have been a tremendous help towards the fight to protect animals. Many of them have made it their life's mission to capture photos of elusive animals who are on the verge of extinction. These people know how to properly interact with an animal; they leave them alone and stay as hidden as possible while photographing them so as to not cause the animals any distress. However, tourists, amateur photographers, and a small number of professional photographers can be extremely harmful to animals. When photographing animals, their habitats can become disturbed, they can become very frightened and put in harm's way, and can even hurt or kill photographers who make them feel threatened.
    [Show full text]
  • Wildlife Photography Over Nature Photography
    International Journal of Humanities and Social Science Invention (IJHSSI) ISSN (Online): 2319 – 7722, ISSN (Print): 2319 – 7714 www.ijhssi.org ||Volume 9 Issue 9 Ser. II || September 2020 || PP 49-52 Wildlife Photography over Nature Photography D. Randula Podduwage1, R.M.Patrick Ratnayake2 1, 2 – Drama & Theatre and Image Arts Unit, Department of Fine Arts, University of Kelaniya, Sri Lanka. ABSTRACT Wildlife photography is one of the most popular genres in photography. Although the history of wildlife photography goes back more than 100 years, until recently there was no internationally accepted definition for it. Since 2015, a number of leading photography organizations around the world have filled this gap, establishing the wildlife photography genre as a more consistent subject area, subject to a common international definition. The main purpose of this article is to identify the exact shape of the wildlife photography genre by considering the specific newly introduced definition with referring to existing sources. ----------------------------------------------------------------------------------------------------------------------------- ---------- Date of Submission: 10-09-2020 Date of Acceptance: 25-09-2020 ----------------------------------------------------------------------------------------------------------------------------- ---------- I. INTRODUCTION Capturing nature and wildlife images is an exclusive subject area of photography. It consists with the collaboration knowledge of few subjects like Photography, Art, Technology,
    [Show full text]
  • Photographic Equipment Guidelines the Farm Lodge Lake Clark National Park, Alaska
    Photographic Equipment Guidelines The Farm Lodge Lake Clark National Park, Alaska by Jim Barr Professional Nature, Adventure Travel, and Outdoor Sports Photographer President, American Society of Media Photographers, Alaska Chapter Photography Guide, The Farm Lodge, Lake Clark National Park Introduction. Here are some general and specific equipment suggestions for photo tour participants. These start and build from “ground zero”, so just blend this information with the equipment that you already have. Equipment is important, but...the old cliché “cameras don’t take pictures, people do” really is true. So don’t put too much emphasis on the equipment. We’ll help you get the most out of what you have. On the other hand, a bear’s face would need to be within two or three feet of the lens for a frame- filling National Geographic quality close-up with a small point-and-shoot or cell phone camera. Not healthy for the photographer (or the bear), and not too likely to happen. The right tools do help. Keep size, weight, and portability in mind. You’ll be traveling to Port Alsworth on a small plane, and deeper into the bush each day on an even smaller one. Space is limited. We’ll also be doing some walking. Bears will require a mile or so of light hiking each way. On landscape days we may hike further and sometimes over rougher terrain, but you can leave heavy wildlife gear at the lodge or in the airplane. We do have options that limit the walking necessary, but there will always be some.
    [Show full text]
  • The Quick Focus Way to Sharp Pictures
    The Quick Focus Way to Sharp Pictures Highly Accurate Quick Focus System -pinpoint sharpness every time- Clear QF Indicators -error-proof, fuss-free- Bright Viewfinder -with clear laser matte focusing screen- QF Functions With Any FD Lens -wide-angle, zoom, macro, telephoto- Aperture-priority AE + Manual Mode -the choice is yours- Simple To Use -light and compact, too- It should have been the perfect picture. The exposure was exact and you framed it beautifully. But when the film came back from the developer's you found that your prize shot was blurred and indistinct. It happens even to pros, but now Canon has come up with a way to ensure you never suffer the disappointment of poorly focused pictures again. It's called the Ouick Focus (OF) system and it's the star attraction of the new AL-1. Easy-to-see arrows point which way to turn the lens' focusing ring and a green spot lights when your subject is in sharpest focus. No more eye strain or guesswork trying to judge the optimum focus. And because the Quick Focus is a TTL (through-the-Iens) system using three CCO line sensors, it works with any of Canon's over 50 FO interchangeable lenses. Other features help make the AL-1 one of the easiest to use SLRs ever. Its bright viewfinder incorporates an overall laser-matte focusing screen with convenient focus frame, while microcomputer "brains" take care of ranging detection, exposure and control decisions. And it's an aperture-priority AE camera, which means that you select the aperture and the camera sets the correct shutter speed.
    [Show full text]
  • Download This Issue
    TUTORIAL A CREATIVE JUMP-START | MIKE RODRIGUEZ 2015 | JULY A Creative Jump-Start: CREATING A LENS FLARE BRUSHMIKE RODRIGUEZ DOUBLE CreatingTHE aFUN! Simulated Double Exposure Image DIANA DAY SUBSCRIBER +SHOWCASE How to Identify Which Edits Your Photo Needs ERIN PELOQUIN JULY 2015 | 1 EDITOR’S NOTE | TABLE OF CONTENTS JULY | 2 015 VOLUME 12, NUMBER 5 From the Editor Hello, With summer in full swing, grab your camera and dive into the endless photo ops out there. From picnics with family and friend, to traveling to exotic locations, you EDITOR-IN-CHIEF Diana Kloskowski don't want to miss any opportunities. Make sure you have your camera, extra batteries, and memory cards handy while you’re on the lookout for great shots. When CREATIVE DIRECTOR Eduardo Lowe you get back to your computer, we hope you’ll find arti- cles and videos on the PET site to help you transform CONTRIBUTING WRITERS Mike Rodriguez your photos into cherished memories. Diana Day Till next time, Erin Peloquin Diana Kloskowski Editor-in-Chief PUBLISHED BY PHOTO ONE MEDIA, INC. 15333 SW Sequoia Parkway, Suite 150 Portland OR 97224 (503) 968-1813 PRESIDENT Craig Keudell Table of Contents GENERAL MANAGER Rick LePage WEB MARKETING MANAGER Thomas Penberthy 03 Creative Jump-Start: Creating a Lens Flare Brush WEB DEVELOPMENT Jim Mock Learn how to create and save a very versatile lens flare brush that can be used in a variety of projects. by Mike Rodriguez SUBSCRIBER SERVICE INFORMATION Double the Fun! How do I change my email or mailing address? Log on to the 09 Dive into your creative side, and create simulated double website (www.photoshopelementsuser.com).
    [Show full text]
  • Photography for Archaeologists Part II : Artefact Recording
    Photography for Archaeologists Part II : Artefact recording Guide 26 BAJR Practical Guide Series Lisa Jayne Fisher June 2009 © held by authors Photography for Archaeologists Contents Introduction 1 Coins 3 Flint 4 Pottery 5 Glass 6 Exposing correctly with a light-box 8 Colour temperature 9 Camera attachments: filters & close-ups 10 Use of scales 11 Bracketing 12 Building a copy stand 12 Further Reading & Other Notes 13 1 Photography for Archaeologists Introduction Artefact recording is another area in archaeology that is often overlooked and mis-represented. Not only does the archival quality of the resulting image matter but a simple understanding of lighting can achieve an enormous impact on the given textures, form and inherent detail of objects, giving valuable information which is often lost. Depending on the complexity of the artefacts’ shape, lighting can be experimented with by finding the best position and angle of the lights used for the job. It is often a laborious job to find the time to read up on the correct lighting positions for any given artefact. Often, it is far better to spend some time experimenting and observing, to find the best solution in any given situation. This will help you to judge artefacts by eye, leading to an implicit understanding of the qualities of light and should lead to sound practical experience, which should then become second nature. Simple lighting or copy stands can be cheaply purchased or rigs can be built out of simple materials utilizing desk lamps if your budget is limited. See final section on how to improvise with lighting.
    [Show full text]
  • Special Techniques to Make Your Image Different
    Special techniques to make your image different 1. Timelapse in one image During a photo tour in Yunnan province, China, we go shoot at a busy local market. I, however, like to experiment something new, presenting the hustle and bustle of the market photographically in a unique way: A time-lapse compressed into one image. To achieve the result, 2 approaches coming to my mind: Option 1. Using the in-camera Multiple exposure mode: Nikon cameras has multiple exposure functions for long time. After years of being ignored, it finally comes to Canon cameras starting 5D III, which I happen to use. This one is shot using "Average" mode in multiple exposure, I set total of 9 exposures, taking one shot every couple seconds, the exposure is automatically reduced, proportional to the number of shots taken, to avoid over-exposing common areas or overlapping bright areas. Where overlapping areas do occur, the final brightness level will be the same as the would have been in a single, properly- exposed shot. And, any non-overlapping areas will be darkened. The final combined image is automatically generated by the camera. The pro is that you can experiment a lot with this technique, simple and fast. The con however, is that you have no control on the resulting image at all. The camera has full control here. Option 2. Taking a lot shots and manipulate them in post processing: This is a hard way, but you have absolute control of the final image. It, however, is time-consuming and requires lots of fiddling with Photoshop.
    [Show full text]
  • Multiple Exposure Notes
    MULTIPLE EXPOSURE NOTES • Read your manual to determine what features your camera offers • Check the setting for default time out and adjust to your needs • Some camera will save each image in a multiple exposure series while others do not. • Check to see if Live View is available when shooting multiple exposures • Turn on your grid in the view finder and/or live view to help placement. • Shooting Menu o On – Series will continue multiple exposure mode until turned off o On – Single will turn off after one multiple exposure completed o Off - *Make sure you turn off when finished! o Number of shots varies from camera to camera with some restricted to 2 exposures and others up to 10 (or more) • Multiple Exposure Modes o Auto Gain: Turning off would require all adjustments to be done manually. When on, the camera will adjust the exposure of each frame automatically to try and avoid overexposure. o Add (Additive): The exposures are overlaid without any modification / adjustment o Average: This provides an automatic exposure control whereby each image is automatically underexposed to allow for a correctly exposed final image. o Lighten: The pixels in the images are compared and only brightest pixels are used to overlay. o Darken: The pixels in the images are compared and only the darkest are used to overlay. • Previsualize what you want as the end result and find compatible images. Use your grid or a part of your subject to help line up individual images. • Multiple Exposure Hints and Tips o Simple double exposure using Auto Gain is usually available in all camera with Multiple Exposure option.
    [Show full text]
  • Nikon D3200 for Dummies
    Index reducing, 216 • Symbols and setting, 222, 227–230. See also Numerics • A (aperture-priority autoexposure) mode; M (manual exposure) mode; ? (question mark) P (programmed autoexposure) mode blinking, 37, 59, 247 shooting wide open, 222 camera icon, 36 stopping down, 216 3D Tracking mode, 264 aperture (f-stop), settings 8-bit TIFF fi les, 194 depth of fi eld, adjusting, 274–275 16-bit TIFF fi les, 194 effect on focus, 85 recording movies, 124 • A • aperture priority. See A (aperture-priority autoexposure) mode; P (programmed A (aperture-priority autoexposure) mode autoexposure) mode depth of fi eld, adjusting, 279 aperture ring, 9 description, 49 Apple Aperture, 175 determining exposure, 223, 229 Apple iPhoto, 173 exposure metering, 226 artifacting, 69 Active D-Lighting, 241–244, 347 aspect ratio Adobe Photoshop, 174–176 cropping pictures, 330 Advanced Shooting options, 82 printing pictures, 197–199 AE (autoexposure) lock, 240–241 attaching AE-L/AF-L button, customizing, 43, 347–348 fl ash, 56 AE-L/AF-L/Protect button, 20–21 lenses, 8–10 AF (autofocusing) assist lamp, 24 audio recording, 120–125 AF-A (auto-servo autofocus) mode, Auto Area mode, 264 78–80, 268 Auto Distortion Control, 82 AF-Area mode, 80, 108–109, 111–113, Auto Flash Off mode, 48, 82–86 263–267. See also autofocus system Auto image rotation option, 40 AF-C (continuous-servo autofocus) Auto information display option, 38–39 mode, 268 COPYRIGHTEDAuto ISOMATERIAL Sensitivity Control, 232 AF-F mode, 111–113 Auto mode, 48, 57–58, 60, 82–86 AF-S lenses, 8, 10–12 Auto off timers option, 40–41 AF-S mode, 111–113, 268 autoexposure A/M (Auto/Manual) focus switch, 11, 23 in Flash mode, 60–61 annotations, adding to pictures, 40, locking, 20–21, 124, 348–349 341–343 recording movies, 124 anti-shake.
    [Show full text]