Processing Your First Film
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Imaging Diamond with X-Rays
Home Search Collections Journals About Contact us My IOPscience Imaging diamond with x-rays This article has been downloaded from IOPscience. Please scroll down to see the full text article. 2009 J. Phys.: Condens. Matter 21 364217 (http://iopscience.iop.org/0953-8984/21/36/364217) View the table of contents for this issue, or go to the journal homepage for more Download details: IP Address: 129.49.56.80 The article was downloaded on 30/06/2010 at 16:59 Please note that terms and conditions apply. IOP PUBLISHING JOURNAL OF PHYSICS: CONDENSED MATTER J. Phys.: Condens. Matter 21 (2009) 364217 (15pp) doi:10.1088/0953-8984/21/36/364217 Imaging diamond with x-rays Moreton Moore Department of Physics, Royal Holloway University of London, Egham, Surrey TW20 0EX, UK E-mail: [email protected] Received 5 April 2009 Published 19 August 2009 Online at stacks.iop.org/JPhysCM/21/364217 Abstract The various techniques for imaging diamonds with x-rays are discussed: x-radiography, x-ray phase-contrast imaging, x-ray topography, x-ray reciprocal-space mapping, x-ray microscopy; together with the characterization of the crystal defects which these techniques reveal. 1. Introduction may also be sharp characteristic peaks superimposed upon the continuous spectrum, characteristic of the target material. X-rays may be used to image whole diamonds, or selected These come from the brief promotion of electrons dislodged regions, by radiography or by using various techniques from target atoms to discrete higher energies. These (or other) employing a Bragg reflection for x-ray diffraction contrast. -
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. -
Push Processing
May 2002 APPLICATION SHEET PUSH PROCESSING INCREASING APPARENT FILM SPEED BY OVER-DEVELOPMENT All camera films have a basic speed, usually PUSH PROCESSING shown as an ISO rating on the packaging. This How well push processing works is much more gives you a measure of how sensitive the film is to dependent on the subject illumination than for light, but only when processed to ‘normal’ standard processing. The push processing contrast. If you expose the film at its rated speed development times for recommended meter settings and process it to normal contrast according to the given in ILFORD information for films and standard recommendations you will get the best chemicals are chosen to ensure that the maximum results for a wide range of conditions. level of detail is recorded under all conditions, and especially in very poor lighting. However, you cannot always use the rated exposure as the light level may be too low, or you However, in many situations where film is uprated, may need a high shutter speed and/or small the lighting is very unevenly distributed. In these aperture. In these cases, the solution is to uprate cases, you can usually improve the quality of your the film to a higher speed and push process, that final image by changing your exposing and is deliberately underexpose the film and extend the processing. If in doubt though, follow the development time to compensate for it. recommendations in ILFORD information for films and chemicals for the meter setting used. You can uprate many films by one or two stops. -
PRODUCT CATALOGUE All Prices Are Inclusive of VAT HOW to ORDER
ISSUE 29 PRODUCT CATALOGUE All prices are inclusive of VAT HOW TO ORDER TELEPHONE - 01789 739200 With your credit card or debit card ready between 8.30am - 5.30pm Monday to Friday. Outside these hours your order will be handled by answerphone. We check our answerphone first thing every weekday morning, so this will not delay your order. WEB Providing the items you order are in stock and the order is received before 2pm, we aim to deliver to you the next WEBSITE: www.theimagingwarehouse.com working day*. Visit our totally secure website for online ordering of the thousands of products we have in stock ready for immedi- FAX - 01789 731569 ate despatch. Check out our latest offers whilst there! Fax your completed order form with your debit or credit card details to this number. Providing the items are in stock and your With over 2,500 products available from stock, a order is faxed before 2pm, we aim to deliver to you the next range of quality used equipment and a team of working day*. technical staff boasting over 75 years of knowl- edge and experience, we are a one-stop shop for all your darkroom needs. Major brands including: POST Ilford, Kodak, Agfa, Fuji, Fotospeed, Rollei, Adox, FREEPOST RSHZ-JGBS-LGKJ (+ standard address) Kentmere, Harman and more. We continue to be Post your completed order form with your cheque, postal order, the world-leading manufacturer of slot-processors and archival debit or credit card details in an envelope using the Freepost washers, offering a full selection of space saving and environ- address. -
Film, Photojournalism, and the Public Sphere in Brazil and Argentina, 1955-1980
ABSTRACT Title of Document: MODERNIZATION AND VISUAL ECONOMY: FILM, PHOTOJOURNALISM, AND THE PUBLIC SPHERE IN BRAZIL AND ARGENTINA, 1955-1980 Paula Halperin, Doctor of Philosophy, 2010 Directed By: Professor Barbara Weinstein Department of History University of Maryland, College Park My dissertation explores the relationship among visual culture, nationalism, and modernization in Argentina and Brazil in a period of extreme political instability, marked by an alternation of weak civilian governments and dictatorships. I argue that motion pictures and photojournalism were constitutive elements of a modern public sphere that did not conform to the classic formulation advanced by Jürgen Habermas. Rather than treating the public sphere as progressively degraded by the mass media and cultural industries, I trace how, in postwar Argentina and Brazil, the increased production and circulation of mass media images contributed to active public debate and civic participation. With the progressive internationalization of entertainment markets that began in the 1950s in the modern cities of São Paulo, Rio de Janeiro, and Buenos Aires there was a dramatic growth in the number of film spectators and production, movie theaters and critics, popular magazines and academic journals that focused on film. Through close analysis of images distributed widely in international media circuits I reconstruct and analyze Brazilian and Argentine postwar visual economies from a transnational perspective to understand the constitution of the public sphere and how modernization, Latin American identity, nationhood, and socio-cultural change and conflict were represented and debated in those media. Cinema and the visual after World War II became a worldwide locus of production and circulation of discourses about history, national identity, and social mores, and a space of contention and discussion of modernization. -
Photo Warehouse
Photo Warehouse FILM DEVELOPMENT CHART PUSH PROCESSING (B/W) 68° 68° 68° 68° 68° 68° 68° 68° D-76 or D-76 or Sensidol U60 F60 Ultrafine HC-110 T-Max These are general guidelines when no published development times are Ultrafine Ultrafine Powder 1:9 1:9 1:9 Liquid Dev. Dil. B Dev. Powder Dev. Dev. 1:1 1:4 available. To use this chart multiply the published time at recommended ASA by the factor in parenthesis (ie. If Tri-X rated at 400ASA is normally developed for 6 Ultrafine B&W 125 6-8 10 5 ½ 5 ½ 5 ½ 8 ½ 5 5 ½ minutes in a standard developer, then when Tri-X is pushed three stops to Ultrafine B&W 400 7 ½ 13 7 7 7 11 6 8 3200ASA development would be: 6 x 2 = 12 minutes). Please use these Ultramax T-Grain 400 6 10 9 9 9 12 ½ 5 8 recommendations as starting points only. In many cases these times will Ultrafine Plus B&W 100 9 10 11 11 11 12 8.5 8.5 prove excessive, but when all else fails they can be a good guideline. Please Ultrafine Plus B&W 400 8.5 9 10 10 10 8 10 7 note separate data for Tmax films. Ultrafine Xtreme 100 8 10 ½ 5 5 5 6 ½ 8 ½ 6 Ultrafine Xtreme 400 7 12 ½ 6 ½ 6 ½ 6 ½ 7 ½ 5 6 Standard Developer Agfa APX ISO 400 10 11 8 8 8 8 6 7 Celsius Fahrenheit Kodak Plus-X Pan ISO 125 5 ½ 8 ½ 5 ½ 5 ½ 5 ½ 7 3 ½ 5 ¾ 1 stop push = (x1.25) 2 stop push = (x1.5) Kodak T-Max 100 9 12 7 7 7 7 7 7 ½ 18 = 64.4 Kodak T-Max 400 8 12 ½ 6 ¾ 6 ¾ 6 ¾ 8 6 7 3 stop push = (x2.0) 19 = 66.2 Kodak T-Max 3200 14 -- 11 ½ 11 ½ 11 ½ -- 10 ½ 9 ½ (75°) Kodak Tri-X Pan ISO 400 6 ¾ 9 ¾ 9 ¼ 9 ¼ 9 ¼ 8 6 6 Compensating 20 = 68.0 Ilford Delta ISO 100 8 ½ 11 7 7 7 7 6 7 Developer 21 = 69.8 Ilford Delta ISO 400 9 ½ 14 7 ½ 7 ½ 7 ½ 8 7 ½ 6 ½ 1 stop push = (x1.4) 22 = 71.6 Ilford FP4 Plus 8 ½ 11 5 ½ 5 ½ 5 ½ 7 9 6 ½ 2 stop push = (x1.85) Ilford HP5 Plus 7 ½ 13 7 7 7 8 5 6 ½ 3 stop push = (x2.5) 23 = 73.4 24 = 75.2 These times are a guide. -
FP4 Plus Is an Exceptionally Fine Grain, Medium Speed Black and White Film
HARMAN technology Limited TECHNICAL INFORMATION F P4 PLUS ISO 125/22º, BLACK AND WHITE PROFESSIONAL FILM FOR HIGH PRINT QUALITY AND FLEXIBILITY IN USE ILFORD FP4 Plus is an exceptionally fine grain, medium speed black and white film. It is ideal for high quality indoor and outdoor photography, particularly when giant enlargements are to be made. In addition to general photography, FP4 Plus is also suited to copying and internegative work, and has many applications in scientific, technical and industrial photography. FP4 Plus is robust and will give usable results even if it is overexposed by as much as six stops, or underexposed by two stops. It is compatible with all major processing systems, including those which give the standard short fixing and washing times. FP4 Plus 35mm film is coated on 0.125mm/5-mil acetate base and is available in 24 or 36 exposure cassettes, or in bulk lengths of 17 or 30.5 metres (56 and 100ft). FP4 Plus 35mm film is supplied in DX coded cassettes, suitable for all 35mm cameras. FP4 Plus roll film is coated on 0.110mm/4-mil clear acetate base with an anti- halation backing which clears during development. It is available in 120 lengths and is edge numbered 1 to 19. FP4 Plus sheet film is coated on 0.180mm/7-mil polyester base with an anti- halation backing which clears during development. It is available in a wide range of standard sizes. The emulsion faces the user when sheet film is held in the position shown opposite. EXPOSURE RATING FP4 Plus has a speed rating of ISO 125/22º to daylight. -
All That Is Solid: a Celluloid Exploration of Brutalist Architecture
ALL THAT IS SOLID: A CELLULOID EXPLORATION OF BRUTALIST ARCHITECTURE EVA KOLCZE A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF OF MASTER OF FINE ARTS GRADUATE PROGRAM IN FILM YORK UNIVERSITY TORONTO, ONTARIO MAY, 2014 © Eva Kolcze, 2014 Abstract All That Is Solid is an experimental film that investigates Brutalist architecture through the decayed surface of black and white celluloid. The film features three locations: Robarts Library, The University of Toronto Scarborough campus (UTSC) and the Ross building at York University. All are prominent examples of Brutalist architecture on university campuses. Footage of the buildings has been degraded using photochemical processes that result in unique patterns of decay. The decay processes are used to draw material and aesthetic connections between concrete and celluloid. By distressing and dissolving images of massive buildings, the film explores how time breaks down all materials, even solid concrete. The film also explores the shifting reactions and responses to the buildings, from their initial praise by the architectural community as cutting edge and futuristic, to the intense public backlash that followed shortly after they were built. ii TABLE OF CONTENTS Abstract .................................................................................................................. ii Table of Contents……………………………………………………………………….iii Evolution Of The Project ....................................................................................... -
Farias, Priscila L. Et Wilke, Regina C. BORDERLINE GRAPHICS AN
BORDERLINE GRAPHICS: AN ANALYSIS OF CINEMA MARGINAL POSTERS REGINA C. WILKE PRISCILA L. FARIAS SENAC-SP / BRAZIL USP & SENAC-SP / BRAZIL [email protected] [email protected] ABSTRACT INTRODUCTION This paper presents a study on Brazilian Cinema The study of Cinema Marginal posters aims to Marginal film posters. It identifies the political and gathering information for a better understanding cultural context of the posters production, and of Brazilian design history. The posters selected considers their graphic, communicative and for this study are those designed for the films meaningful aspects. listed by Puppo (2008), in his catalogue for an In 1968, the Institutional Act #5 (AI-5) comes into exhibition of Cinema Marginal movies. force in Brazil, and, for the next ten years, the Initially, we describe the political and cultural country is haunted by the most violent period of context influencing Cinema Marginal , and military dictatorship. Cinema Marginal has its summarize the concepts that determine its heyday between 1968 and 1973, a period marked language. We then introduce the Brazilian graphic by the military regime (1964-1985). Such films arts environment of the era, and present the portray the spirit of that era in dissimilar ways identified authors of the posters. Finally, based on that alternate between eroticism, horror, an organization of the posters by affinity groups, romance and suspense, often with political we discuss the posters’ relation to the audiovisual messages in subtext. Its main shared language of the films, proposing a reflection on characteristics are the subversion of cinematic the visual, communicative and meaningful aspects language and experimental attitude. -
UK Photography Activity Badge
making a start in photography Jessops is proud to support The Scout Association and sponsor the Scout Photographer Badge know your camera! welcome to the Single use cameras SLRs Digital cameras Single use cameras offer an inexpensive and ‘Single lens reflex’ cameras, often called SLRs, Digital cameras come in both compact and SLR exciting world of risk-free way to take great photos. They are built come in two main types - manual and auto-focus. formats. Rather than saving an image to film, complete with a film inside and once this is used SLRs give you greater artistic control as they can digital cameras save images onto memory cards. photography! up, the whole camera is sent for processing. They be combined with a vast range of interchangeable They have tiny sensors which convert an image are perfect for taking to places where you may lenses and accessories (such as lens filters). You electronically into ‘pixels’ (short for picture To successfully complete the Photographer Badge, be worried about losing or damaging expensive can also adjust almost every setting on the camera elements) which are put together to make up the you will need to learn the basic functions of a equipment (Scout camp for example) and you can yourself - aiding your photographic knowledge complete image. camera, how to use accessories, and how to care even get models suitable for underwater use - and the creative possibilities! for your equipment. You will also need to Capturing images this way means that as soon as perfect for taking to the beach! understand composition, exposure and depth of With manual SLRs, the photographer is in complete the picture is taken, you can view it on the LCD field, film types, how to produce prints and control - and responsible for deciding all the screen featured on most digital cameras. -
Black and White Conversion
From www.adobe.com/designcenter Product used Adobe Photoshop CS2 Black and White Conversion “One sees differently with color photography than black and white...in short, visualization must be modified by the specific nature of the equipment and materials being used.” –Ansel Adams The original color image. (left) The adjusted black and white conversion. (center) The final color toned black and white image. (right) Seeing in black and white Black and white conversions are radical transformations of images. They’re about reestablishing the tonal founda- tions of an image. That’s quite different than dodging and burning, or lightening and darkening locally, which is a matter of accentuating existing tonal relationships. The Channels palette shows the red, green, and blue components of a color image. Each channel offers a useful black and white interpretation of the color image that you can use to adjust the color. The key concept is for you to use the color channels as black and white layers. 2 Conversion methods There are almost a dozen ways to convert an image from color to black and white; and you can probably find at least one expert to support each way as the best conversion method. The bottom line is that most conversion methods work reasonably well. The method that works best for you depends on your particular workflow and the tools that you’re comfortable with. The following method isn’t necessarily the best and it isn’t the fastest—it generates a larger file—but it offers you the most control and flexibility. Creating layers from channels offers you more control than any other conversion method. -
Film Grain, Resolution and Fundamental Film Particles
FFFiiilllmmm GGGrrraaaiiinnn,,, RRReeesssooollluuutttiiiooonnn aaannnddd FFFuuunnndddaaammmeennntttaaalll FFFiiilllmmm PPPaaarrrtttiiicccllleeesss Version 9 March 2006 Tim Vitale © 2006 use by permission only 1 Introduction 1 2 Fundamental Film Particles – Silver-Halide 0.2 - 2.0 um 3 Feature Size and Digital Resolution: Data Table 1 4 Dye Clouds are the Fundamental Particles Color Film 6 3 Film Grain 6 Dye Clouds are the Film Grain in Color Film 6 Film Grain in Black-and-White Film 7 Cross-Section of Film 9 Grain Size Variability 9 RMS Granularity – Film Image Noise 9 RMS Granularity of Several Films: Data Table 2 10 Film Resolution – Sharpness 10 System Resolving Power Equation 12 Lens Issues Effecting Resolution 12 Film Issues Effecting Resolution 12 Evaluation a System: Camera, Lens and Film 13 Selected Film & Lens Resolution Data: Data Table 3 13 Camera System Resolving Power: Data Table 4 14 Measuring Film Grain 14 Print Grain Index 14 Size of Perceived Film Grain: Example 15 Size Domains for Enlargement & Magnification: Data Table 5 15 Maximum Resolution of a Microscope: Data Table 6 16 4 Eliminating Film Grain from an Image 18 Drum Scan Aperture 18 Feature size vs. Digital Resolution vs. Film: Data Table 7 19 Scan Resolution in Flatbed Scanning 19 Wet Mounting for Film Scanning 20 New Generation of Flatbed Scanners 21 Future Generation of Scanners – Epson Perfection V750-M 23 Software for Diminishing Film Grain 24 1 Introduction The purpose of this complex essay is to demonstrate the following: • Fundamental film particles (silver