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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. -
Nature and Photography in Texas
101_naturephotography.qxp:Layout 1 9/22/09 10:33 AM Page 1 Resources Principles of Ethical ® Life’s better outside. BOOKS: Field Practices AddisonWesley Publishing Company. 1991. By the editors of Eastman Kodak Company. The Joy of Photography. ENVIRONMENTAL: KNOWLEDGE OF SUBJECT TDO Bauer, Erwin and Peggy Bauer. 1985. Photographing wild Texas. OU O AND PLACE R University of Texas Press, Austin. 112 pp. Learn patterns of animal behavior. Know when not to Hill, Martha and Art Wolfe. 1993. The art of photographing interfere with animals’ life cycles. nature. Crown Publishers, NY. 184 pp. Nature Kiefer, John. 2006. Mastering Nature Photography: Respect the routine needs of animals. Remember that Shooting and Selling in the Digital Age (paperback). others will attempt to photograph them, too. Allworth Press, 288 pp. Use appropriate lenses to photograph wild animals. Lepp, George. 1997. Beyond the Basic II: More Innovative Photography If an animal shows stress, move back and use a Techniques for Outdoor/Nature Photography (paperback). longer lens. Lepp and Associates, 162 pp. IN TEXAS Miotke, Jim. The BetterPhoto Guide to Digital Nature Acquaint yourself with the fragility of the ecosystem. Photography (paperback). Amphoto Books, 224 pp. Stay on trails that are intended to lessen impact. Morris, Arthur. 2003. Art of Bird Photography: The Complete Guide to Professional Field Techniques (paperback). Amphoto SOCIAL: KNOWLEDGE OF RULES AND LAWS Books, 160 pp. When appropriate, inform managers or other National Geographic Photography Field Guide Series. 2002. authorities of your presence and purpose. Help Landscapes and People and Portraits. National Geographic minimize cumulative impacts, and maintain safety. -
The Perceived Credibility of Professional Photojournalism Compared to User-Generated Content Among American News Media Audiences
Syracuse University SURFACE Dissertations - ALL SURFACE August 2020 THE PERCEIVED CREDIBILITY OF PROFESSIONAL PHOTOJOURNALISM COMPARED TO USER-GENERATED CONTENT AMONG AMERICAN NEWS MEDIA AUDIENCES Gina Gayle Syracuse University Follow this and additional works at: https://surface.syr.edu/etd Part of the Social and Behavioral Sciences Commons Recommended Citation Gayle, Gina, "THE PERCEIVED CREDIBILITY OF PROFESSIONAL PHOTOJOURNALISM COMPARED TO USER-GENERATED CONTENT AMONG AMERICAN NEWS MEDIA AUDIENCES" (2020). Dissertations - ALL. 1212. https://surface.syr.edu/etd/1212 This Dissertation is brought to you for free and open access by the SURFACE at SURFACE. It has been accepted for inclusion in Dissertations - ALL by an authorized administrator of SURFACE. For more information, please contact [email protected]. ABSTRACT This study examines the perceived credibility of professional photojournalism in context to the usage of User-Generated Content (UGC) when compared across digital news and social media platforms, by individual news consumers in the United States employing a Q methodology experiment. The literature review studies source credibility as the theoretical framework through which to begin; however, using an inductive design, the data may indicate additional patterns and themes. Credibility as a news concept has been studied in terms of print media, broadcast and cable television, social media, and inline news, both individually and between genres. Very few studies involve audience perceptions of credibility, and even fewer are concerned with visual images. Using online Q methodology software, this experiment was given to 100 random participants who sorted a total of 40 images labeled with photographer and platform information. The data revealed that audiences do discern the source of the image, in both the platform and the photographer, but also take into consideration the category of news image in their perception of the credibility of an image. -
LEICA SUMMARON-M 1:5,6/28Mm Anleitung
LEICA SUMMARON-M 1:5,6/28mm Anleitung Instructions Notice d’utilisation Gebruiksaanwijzing Istruzioni Instrucciones Leica Camera AG I Am Leitz-Park 5 35578 WETZLAR I DEUTSCHLAND 取扱説明書 Telefon +49 (0) 6441-2080-0 I Telefax +49 (0) 6441-2080-333 543 VII/16/LW/D 3 www.leica-camera.com 9 f 5.6 [%] 100 f 5.6 [%] 100 sagittale Strukturen 80 sagittal structures 80 structures sagittales 60 sagittale structuren strutture sagittali 60 estructuras sagitales 40 放射線方向 40 tangentiale Strukturen 20 tangential structures 20 structures tangentielles 0 tangentiale structuren 0 3 6 9 12 15 18 21 strutture tangenziali 0 0 3 6 9 12 15 18Y'[mm]21 estructuras tangenciales 同心円方向 Y'[mm] f 8.0 [%] 100 f 8.0 [%] 100 80 80 60 60 40 40 20 20 0 0 3 6 9 12 15 18 21 0 0 3 6 9 12 15 18Y'[mm]21 Y'[mm] 1 1a 2a 2b 3 5a 5b 4 6 5d 5 5b 4a 4b 5c 1 Bezeichnung der Teile Désignation des pièces 1. Gegenlichtblende mit 1. Parasoleil avec a. Klemmschraube a. vis de serrage 2. Frontfassung mit 2. Monture frontale avec a. Filter-Innengewinde a. filtre de filetage intérieur b. Index für Blendeneinstellung b. repère du réglage du diaphragme 3. Blenden-Einstellring 3. Bague de réglage du diaphragme 4. Entfernungs-Einstellring mit 4. Bague de mise au point avec a. Verstellhebel a. levier de réglage b. Verriegelungsknopf b. bouton de verrouillage 5. Schärfentiefe-Skala mit 5. Échelle de profondeur de champ avec a. Index für Entfernungseinstellung a. index de mise au point b. -
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, -
LEICA SUPER ELMAR-M 21Mm F/3.4 ASPH. LEICA APO-SUMMICRON
LEICA APO-SUMMICRON-MSUPER ELMAR-M 21mm 50 mm f/3.4 f/2 ASPH. ASPH. 1 More than 30 years after the launch of Summicron-M 1:2/50 mm, which is still available, the Leica APO Summicron-M 1:2/50 mm ASPH. represents a totally new development. With its compact body - only marginally longer and slightly heavier than the Summicron-M 1:2/50 mm, and with an almost identical diameter, it provides visibly higher image quality. On the Leica APO Summicron-M 1:2/50 mm ASPH. the exceptional correction enables all aberrations to be reduced to a minimum level that is negli- gible in digital photography. Its key features include excellent contrast rendition, all the way to the corners of the image, even with a fully open aperture. The use of a „floating element“ ensures that this is retained, even for close-up shots. Vignetting is limited to a maximum - i.e. in the corners of the image - of just 2 stops at full aperture in 35 mm format, or around 1 on the Leica M8 mo- dels. Stopping down to 2.8 visibly reduces this light deterioration towards the edge of the image, with practically only the natural vignetting remaining. Distortion is very low at a maximum of just 0.4 % (pin cushoin), which is practically imperceptible. A total of eight lens elements are used to achieve this exceptional performance. To realize the apochromatic correction (resulting in a com- mon focusing plane for three light wavelengths), three are made of glass types with high anomalous partial color dispersion, while two of the others have a high refractive index. -
Second Hand - Schnäppchenliste Schnäppchen- Artikel- Aktueller Preis Hersteller /Artikelbezeichnung Bemerkung Rabatt Preis Inkl
Second Hand - Schnäppchenliste Schnäppchen- Artikel- aktueller Preis Hersteller /Artikelbezeichnung Bemerkung Rabatt preis inkl. nummer inkl. Mwst Mwst. AGFA Ambi Silette, 35/50/90mm 10GELA39798 99,00 50% 49,50 BRAUN Paxette Super III,135/3,5, 50/2,8, 200/4,5, DEKOSTÜCK 10GELA50901 749,00 50% 374,50 BRONICA Tele-Converter 2x ETR 10GELA34958 69,00 40% 41,40 BRONICA Zenzanon 250/5,6 MC für ETR 10GELA48661 149,00 40% 89,40 BRONICA 105mm/3.5 10GELA35986 189,00 50% 94,50 BRONICA 150mm/3.5 10GELA35987 159,00 50% 79,50 BRONICA 180/4.5 Zenzanon Deckelx2 10GELA38037 99,00 50% 49,50 BRONICA Zenzanon 75/2.8 10GELA41754 99,00 40% 59,40 BRONICA Balgen ETR 10GELA48647 99,00 40% 59,40 CANON A1 Gehäuse 10GELA34274 29,00 50% 14,50 CANON A1 10GELA44981 99,00 50% 49,50 CANON A-1 + Griff 10GELA47660 99,00 40% 59,40 CANON A-1 10GELA48242 99,00 50% 49,50 CANON AE-1 10GELA50313 89,00 50% 44,50 CANON M3, 18-55,22, Adapter EF,LG, 2 Akkus Sucher EVF-DC1 10GELA51403 579,00 20% 463,20 CANON 70-210mm 4,0 FD 10GELA28125 49,00 50% 24,50 CANON 70-210/4 FD 10GELA29319 49,00 40% 29,40 CANON 70-210mm 4,0 FD 10GELA29472 39,00 50% 19,50 CANON FD 300/5,6 10GELA31221 59,00 50% 29,50 CANON FD 70-210/4 10GELA34143 49,00 50% 24,50 CANON 100/4 FD 10GELA35570 99,00 50% 49,50 CANON FD 200/4 10GELA35852 49,00 40% 29,40 CANON FD 200/4 10GELA36668 39,00 40% 23,40 CANON FD 70-210/4 10GELA36939 49,00 50% 24,50 CANON EF 135/2,8 Soft 10GELA39028 249,00 40% 149,40 CANON 135/3,5 FD 10GELA39744 29,00 50% 14,50 CANON 28-135mm IS USM 10GELA40514 199,00 50% 99,50 CANON Reflex 500mm/8 10GELA42120 249,00 25% 186,75 CANON FD 70-210mm/4 10GELA42122 49,00 40% 29,40 12 Monate Gewährleistung Zwischenverkauf und Irrtümer vorbehalten 1 / 16 Stand 12.12.2019 Second Hand - Schnäppchenliste Schnäppchen- Artikel- aktueller Preis Hersteller /Artikelbezeichnung Bemerkung Rabatt preis inkl. -
FALL SEMESTER Photography 2- Advanced Photography
FALL SEMESTER Photography 2- Advanced Photography Quarter 1 Week 1/2– Let’s get clicking • Pre-assessment and Benchmark-Basic Camera Parts- Hands on learning, group work, basic camera parts qui • Review Course Syllabus, Classroom policy, loan agreement • Elements of Art and Principles of Design Advanced incorporation • Set up emails or set up 365 docs • Student Camera Inventory/Probability to secure 35mmSLRs • Rules and Room protocol • Styles of Photography Powerpoint followed by exercise and group presentation • Kodak Video -Youtube “6 Guidelines to Photographic Composition” with follow up written assignment • Without knowing…Smart phone photo search demonstrating use of six guidelines • Holding your camera. Safety, protection, and care. • Vertical, horizontal and when to use each orientation • Manual and semi automatic Cameras (AV, TV, M) • Camera Adjustments, proper exposure and focusing • Shutter Speed Variations • Aperture/F-stop Depth of Field • Light meter- Hand held- vs TTL • Exposure Combinations-Understanding your choices Communication Film Assignment, 36 exposure* DUE: One word 30 ways. Choose one word and digitally capture it 30 different. DUE: *Must Use Photo Logs for all film work Week 3/4 Review of key components: Lenses Contrast and Value • Lenses- Normal, Fixed, Macro • In School Scavenger Hunt Assignment- Groups and Rotation/Find it with your phone Assignment *Collage App- Using Albums • Photo Log/Journals • Chapter III Focus on Photography- Vocabulary and Summary • Value and Contrast • Proof Test Print- Show Value • 18% Gray card • High Key • Low Key Photos • Paper and Film- Types, Process, and Care • ISO/ASA and Emulsion • Everything Film - Loading film - 35mm Film Roll vs Bulk - Care and storage - Bulk rolling into canisters - Rolling Film and loading into canisters for Developing - Dry materials for Developing Film - Chemicals for Developing Film - Processing your negatives step by step • Everything Chemicals - Chemicals care and storage - Dry Materials for developing film - Stock vs. -
Press Information
Press Information photokina 2018: Visitors to the Leica Camera stand in Hall 2.2 can look forward to a discovering a comprehensive portfolio of products and services Wetzlar, 6 September 2018. The focus of Leica’s appearance at photokina 2018 in Cologne is not only set on the extremely diverse product portfolio of the traditional manufacturer from Wetzlar, but also on the Leitz Park itself. At Leica, everything has always revolved around the picture, the school of visualisation, the history of photography, the vibrancy of photographic culture and the people behind the cameras – in other words, DAS WESENTLICHE. Since the opening of the Leitz Park complex on 15 June 2018, all this is now a visible and tangible experience. In the open-plan, newly conceived Leica stand in Hall 2.2, visitors can find information and comprehensive advice about the broad spectrum of Leica products and services for all photographic applications and scenarios. The demonstration area has now been split into thematic areas to provide easier orientation for professionals, amateurs and other visitors interested in particular Leica products or services. While the ‘Professional’ area concentrates on the Leica S and its lenses and products from Sinar Photography, the ‘Systems’ area focuses on the Leica SL, the Leica M and the APS-C cameras of the Leica CL and Leica TL systems – and, of course, the full range of corresponding Leica precision lenses. The ‘Compact’ area is dedicated to the Leica Q, Leica D-Lux, Leica V-Lux, Leica X-U and Leica C-Lux cameras and the Leica Sofort instant picture camera. -
Leica Cl Quick Start Guide
LEICA CL QUICK START GUIDE The comprehensive instructions are available at: https://en.leica-camera.com/Service-Support/Support/Downloads If you wish to receive a printed copy of the comprehensive instructions, please register at: www.order-instructions.leica-camera.com 6 7 3 1 13 14 12 5 10 9 11 8 1 4 2 20 19 21 18 25 17 16 15 22 23 24 26a 26 27 30 28 29 1 Strap lugs 10/13 Setting wheels – in the menu: 10 scrolls within the menu lists – in review mode: 10 enlarges/reduces the recording and 13 browses – in recording mode: see table 2 Lens release button 11/14 Setting wheel buttons – in recording mode: 3 Self-timer LED / AF assist lamp 11 calls up the right setting wheel’s secondary function or the FN menu and 4 Leica L-Bayonet 14 calls up the exposure mode – in review mode: 11 enlarges/reduces a recording and B 14 marks a recording B 12 Top display A Indicates the exposure mode, aperture, A shutter speed, in certain cases the set ISO and exposure compensation values 5 Contact strip 15 Speaker 6 Microphones Sound is recorded in stereo 16 MENU Button 7 Accessory shoe 17 FN Button Recommended fl ash units: Direct access to menu funktions Leica system fl ash units SF 40, SF 64, and – in recording mode: SF 58 Direct access to assignable menu item list 8 Main switch – in recording and playback modes: Turning the camera on and off Direct delete function 9 Shutter button 18 PLAY Button Pressing to the fi rst pressure point acti- Switching between picture and review mode vates: – autofocusing 19 Viewfi nder – exposure metering and control Resolution: 1024 x 768 pixels (2.36 MP) Pressing all the way down: takes a picture/ Magnifi cation 0.74x starts/stops video recording In standby mode: 20 Eye sensor The camera is reactivated Automatic switching between viewfi nder and monitor 21 Dioptre setting wheel Setting range from -4 to +4 dioptr. -
Hugostudio List of Available Camera Covers
Exakta VX 1000 W/ P4 Finder Hugostudio List of Exakta VX 500 W/ H3.3 Finder Available Camera Covers Exakta VX IIa V1-V4 W/ P2.2 Finder Exakta VX IIa V5-V7-V8 _P3.3 Finder (1960) Exakta VX IIa V6 W/ H3 SLR Exakta VX IIb W/ P3 Asahiflex IIb Exakta VX IIb W/ P4 Finder Canon A-1 Exakta Varex VX V1 - V2 Canon AE-1 Exakta-Varex VX IIa V1-V4 Canon AE-1 Program Exakta Varex VX V4 V5 Canon AV-1 Exakta Varex VX W/ Finder P1 Canon EF Fujica AX-3 Canon EX Auto Fujica AZ-1 Canon F-1 Pic Req* Fujica ST 601 Canon F-1n (New) pic Req* Fujica ST 701 Canon FT QL Fujica ST 801 Canon FTb QL Fujica ST 901 Canon FTb n QL Kodak Reflex III Canon Power Winder A Kodak Reflex IV Canon TL-QL Kodak REflex S Canon TX Konica FT-1 Canonflex Konica Autoreflex T3 Chinon Memotron Konica Autoreflex T4 Contax 137 MA Konica Autoreflex TC Contax 137 MD Leica R3 Contax 139 Quartz Leica R4 Contax Motor Drive W6 Leica Motor Winder R4 Contax RTS Leicaflex SL Contax RTS II Mamiya ZE-2 Quartz Contax139 Quartz Winder Minolta Auto Winder D Edixa Reflex D Minolta Auto Winder G Exa 500 Minolta Motor Drive 1 Exa I, Ia, Ib Minolta SR 7 Exa II Minolta SRT 100 Exa IIa Minolta SRT 101 Exa Type 6 Minolta SRT 202 Exa VX 200 Minolta X370 Exa Version 2 to 5 Minolta X370s Exa Version 6 Minolta X570 Exa Version I Minolta X700 Exakta 500 Minolta XD 11, XD 5, XD 7, XD Exakta Finder H3 Minolta XE-7 XE-5 Exakta Finder: prism P2 Minolta XG-1 Exakta Finder: prism P3 Minolta XG 9 Exakta Finder: prism P4 Minolta XG-M Exakta Kine Minolta XG7, XG-E Exakta Meter Finder Minolta XM Exakta RTL1000 Miranda AII -
Lens/Port Combinations SUBAL LEICA M 2017/07 Lens FOCUS Rings PORT Combinations Effective: July 2017
Lens/Port Combinations SUBAL LEICA M 2017/07 FOCUS PORT LENS RINGS COMBINatioNS Leica lenses BJAD2>3/LM30* + FE3 dome port (optional SWB) + +4 close up lens 77mm Leica Super-Elmar-M 18mm 1:3,8 ASPH FGLM18 BJAD2>3/LM30 + FE3 dome port + +4 close up lens 77mm BJAD2>3/LM30 + FP45-3 Flatport Leica Super-Elmar-M 21mm 1: 3,4 ASPH FGLM21 BJAD2>3/LM30 + FE3 dome port (optional SWB) + +4 close up lens 46mm BJAD2>3/LM30 + EXR20/3 + FE3 dome port (optional SWB) + +4 close up lens Leica Summilux-M 21mm 1: 1,4 ASPH FGLM21X (we do not recomend this lens because this is close up lens which we can not find on the market) Leica Elmar-M 24mm 1: 3,8 ASPH FGLM24 BJAD2>3/LM30 + FE3 dome port (optional SWB) + +4 close up lens 46mm BJAD2>3/LM30 + EXR20/3 + FE3 dome port (optional SWB) + +4 close up lens Leica Summilux-M 24mm 1: 1,4 ASPH FGLM24X (we do not recomend this lens because this is close up lens which we can not find on the market) Leica Elmarit-M 28mm 1: 2,5 ASPH FGLM28 BJAD2>3/LM30 + FE3 dome port (optional SWB) + +4 close up lens 39mm Leica Summicron-M 28mm 1:2 ASPH FGLM28N BJAD2>3/LM30 + FE3 dome port (optional SWB) + +4 close up lens 46mm Leica Summilux-M 28mm 1:1,4 ASPH FGLM28X BJAD2>3/LM30 + FE3 dome port (optional SWB) + +4 close up lens 49mm Leica Summicron-M 35mm 1:2 ASPH FGLM35N BJAD2>3/LM30 + FE3 dome port (optional SWB) + +4 close up lens 39mm Leica Summarit-M 35mm 1:2,4 ASPH FGLM35T BJAD2>3/LM30 + FE3 dome port (optional SWB) + +4 close up lens 46mm Leica Summilux-M 35mm 1:1,4 ASPH FGLM35X BJAD2>3/LM30 + FE3 dome port (optional SWB) +