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A Person Who Creates Still Photographic Images for the Publicity of Films and Television Programs and Other Photography: Producing Still Images
BA Still Photography Still photography refers to unit still photographer: a person who creates still photographic images for the publicity of films and television programs and other photography: producing still images. The liberalization, globalisation and opening up of economy has led to the setting up of a host of 24X7 news channels as well as a large number of entertainment channels. Further, with the mindset of Indian masses undergoing sea change, the working in the entertainment Industry is no more a limitation. More and more young men and women are taking to entertainment industry. Courses of Film and Television is driven by the singular desire to create New Media Communicators using cinema and television as a means of dialogue with their world. We aim to provide a global platform for quality media and film professionals. Eligibility Criteria: 10+2 or equivalent in any stream To earn a BA (Hons) in Still Photography, a student has to earn a minimum of 90 credits. Minimum 24 credits are to be earned from Still Photography subjects and the remaining can be taken from any stream. Every student has to attain a minimum of D grade in all courses; a student may however, and repeat or change any course being offered. Notwithstanding, every student must acquire the desired number of credits. The detailed course structure under different categories is given in succeeding pages. Brief description of the course content follows thereafter. Codes Subject Name Credit 16A.101 Creative Writing 4 16A.102 Still Photography 4 16A.103 Media Appreciation -
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. -
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. -
The ABC's of Photography
The ABC’s of Photography Susan Wingfield Lamar High School INTRODUCTION Students today are exposed to photography on a level that has never been experienced before. Cameras of one sort or another are immediately accessible. Students take pictures with cell phones that fit in the palm of their hands and digital cameras that are slightly larger than a credit card. When they are not taking pictures, they are showing pictures to their friends, or looking at their friends‟ pictures. Anyone can take photographs. But, questions arise. First, how do you get students to evaluate their images? And, do they need to? What kind of standards in photography are important and why? How can I teach photography to students and make it relevant and interesting? I don‟t want to turn teaching photography into a sit-and-get experience. In order for my photography curriculum to generate student enthusiasm, I have to create a curriculum unit that my students can relate to. So, my next step is to combine all these questions into a workable idea that students can learn from. I have decided to base the curriculum unit on what I think would be an intuitive student point of view. I begin with what students already know – how to shoot pictures. The format of each part of the unit will be five steps. First, I will ask students to take pictures of something relevant to them. These assignments will be according to subject and will vary. I find that assignments help focus the student. If I say “Go take pictures of whatever you want,” students get lost trying to decide “Of what?” If I give them an assignment, then they can get creative within those boundaries. -
Cyanotype Detailed Instructions
Cyanotype Detailed Instructions Cyanotype Formula, Mixing and Exposing Instructions 1. Dissolve 40 g (approximately 2 tablespoons) Potassium Ferricyanide in 400 ml (1.7 cups) water to create STOCK SOLUTION A. Allow 24 hours for the powder to fully dissolve. 2. Dissolve 100 g (approximately .5 cup) Ferric Ammonium Citrate in 400 ml (1.7 cups) water to create if you have Chemistry Open Stock START HERE STOCK SOLUTION B. Allow 24 hours for the powder to fully dissolve. If using the Cyanotype Sensitizer Set, simply fill each bottle with water, shake and allow 24 hours for the powders to dissolve. 3. In subdued lighting, mix equal parts SOLUTION A and SOLUTION B to create the cyanotype sensitizer. Mix only the amount you immediately need, as the sensitizer is stable just 2-4 hours. if you have the Sensitizer Set START HERE 4. Coat paper or fabric with the sensitizer and allow to air dry in the dark. Paper may be double-coated for denser prints. Fabric may be coated or dipped in the sensitizer. Jacquard’s Cyanotype Fabric Sheets and Mural Fabrics are pre-treated with the sensitizer (as above) and come ready to expose. 5. Make exposures in sunlight (1-30 minutes, depending on conditions) or under a UV light source, placing ob- jects or a film negative on the coated surface to create an image. (Note: Over-exposure is almost always preferred to under-exposure.) The fabric will look bronze in color once fully exposed. 6. Process prints in a tray or bucket of cool water. Wash for at least 5 minutes, changing the water periodically, if you have until the water runs clear. -
[1C Darkroom Equipment Processing Equipment Ph-406
Ir TM 11-405 [1C DARKROOM EQUIPMENT PROCESSING EQUIPMENT PH-406 May 12, 1943 Generated on 2015-10-08 20:23 GMT / http://hdl.handle.net/2027/uc1.b3243829 Public Domain, Google-digitized / http://www.hathitrust.org/access_use#pd-google TM 11-405 Cl TECHNICAL MANUAL PHOTOGRAPHIC DARKROOM EQUIPMENT PROCESSING EQUIPMENT PH-406 CHANGES) (J^J> DEPARTMENT OF THE ARMY J No. 1 J WASHINGTON 25, D. C., 14 October 1948 TM 11-405, 12 May 1943, is changed as follows: 1. Purpose * * * Processing Equipment PH—406 from these negatives. Note (Added). Processing Equipment PH-406 procured on Order No. 11426- Phila-47-77 is identical to the equipment described in this manual, except as noted. 2. Components The components of Processing Equipment PH-406 are — * * * * * * * 1 Timer PH-126, automatic, electric; 1 Timer PH-426-A on Order No. 11426-Phila-47-77. *******2 11 14 3 Trays PH-161-A, stainless steel, by inches; Trays PH-161-A on Order No. 11426-PhiIa-47-77. 2 Trays PH-164-A, stainless steel, 14 by 17 inches; 1 Tray PH-164-A on Order No. 11426-Phila-47-77. *******12 Plates PH-152 or PH-152-A, ferrotype. *******1 1 Siphon PH-244; Siphon PH-244-A on Order No. 11426- Phila-47-77. * * * * v,T*fv" iT1-'5'*^ * . ^y.*! - v/^ 1 Accessory Group consisting of-— 2 Tongs PH-373-A, print, 8 inches; 2 tweezers, photo graphic, print, plastic, ?6 inches, on Order No. 11426- Phila-47-77. '--J \V/- ***** *f.-\ ,- * 3. Printer The projection printer * * * two enlarging lenses. -
Creating Compelling Compositions
Creating Compelling Compositions Lesson 1 Rule of Thirds The Rule of Thirds is a very basic rule but an important one to know and remember as you develop your “eye” for composition. Remember that it’s a starting point to composing really good images. It was meant to be broken like most all rules. But let’s learn it first and then we can have fun breaking the rules later! It is important to learn the rule so that it will be the foundation of your images and how you see things. As you begin to see and use shapes, lines, textures etc. you will begin to use the Rule of Thirds while utilizing other techniques into your image to create outstanding photographs. Think of composition like designing a new home and the Rule of Thirds as your blueprint. The Rule of Thirds grid resembles a Tic-tac-toe board. It calls for points of interest in the scene to be placed either one third of the way from the top or bottom and one third of the way in from either side. The horizon will either be placed one third of the way down from the top or one third up from the bottom of the frame. Although there are some exceptions, be sure to be careful and NOT place your horizon in the center of the frame (see example below). I often ask myself this question “What is more interesting, the top third of my image or the bottom third”. That often will answer the question of where to place the horizon. -
US Army Photography Course Laboratory Procedures SS0509
SUBCOURSE EDITION SS0509 8 LABORATORY PROCEDURES US ARMY STILL PHOTOGRAPHIC SPECIALIST MOS 84B SKILL LEVEL 1 AUTHORSHIP RESPONSIBILITY: SSG Dennis L. Foster 560th Signal Battalion Visual Information/Calibration Training Development Division Lowry AFB, Colorado LABORATORY PROCEDURES SUBCOURSE NO. SS0509-8 (Developmental Date: 30 June 1988) US Army Signal Center and Fort Gordon Fort Gordon, Georgia Five Credit Hours GENERAL The laboratory procedures subcourse is designed to teach tasks related to work in a photographic laboratory. Information is provided on the types and uses of chemistry, procedures for processing negatives and prints, and for mixing and storing chemicals, procedures for producing contact and projection prints, and photographic quality control. This subcourse is divided into three lessons with each lesson corresponding to a terminal learning objective as indicated below. Lesson 1: PREPARATION OF PHOTOGRAPHIC CHEMISTRY TASK: Determine the types and uses of chemistry, for both black and white and color, the procedures for processing negatives and prints, the procedures for mixing and storing chemicals. CONDITIONS: Given information and diagrams on the types of chemistry and procedures for mixing and storage. STANDARDS: Demonstrate competency of the task skills and knowledge by correctly responding to at least 75% of the multiple-choice test covering preparation of photographic chemistry. (This objective supports SM tasks 113-578-3022, Mix Photographic Chemistry; 113-578-3023, Process Black and White Film Manually; 113-578-3024, Dry Negatives in Photographic Film Drier; 113-578-3026, Process Black and White Photographic Paper). i Lesson 2: PRODUCE A PHOTOGRAPHIC PRINT TASK: Perform the procedures for producing an acceptable contact and projection print. -
To Boldly Go: a Starters Guide to Hand Made and D-I-Y Films to Boldly Go: a Starters Guide to Hand Made and D-I-Y Films
To Boldly Go: a starters guide to hand made and d-i-y films To Boldly Go: a starters guide to hand made and d-i-y films What is most exciting about this type of filmmaking is not knowing exactly what will result. One then needs the lyrical, musical and cinematic taste to sculpt the result into a film which best demonstrates, exploits and celebrates the results of the experiments. If you stick with good ingredients you will in- evitably have happy results. Then again, not all experiments work but what you learn there can often be employed in a new direction or experiment to actually work. It’s also very important to have fun in and a love of the process. (Jeff Scher) It’s fun to handle film as a celluloid canvas rather than as a fragile This is a booklet for both those eager to begin in hand made film and carrier of images only to be handled by lab technicians. those who already started but are keen to know more. It signifies a hope You can experiment and create the most beautiful images ever. Helen Hill (1970 - 2007) and commitment to making sure these techniques, tricks and handy tips remain openly available to all who might need them. Let’s not keep any Recipes for Disaster: a handcrafted film cookbooklet secrets! These (chemical) receipts, printing processes, after dev. Effects, http://www.angoleiro.com/cine texts/recipes for disaster hill.pdf emulsion extras and celluloid experiments should be absolutely public. Let’s make hand-made d-i-y films! Let’s make a lot! Images and texts have been gathered, harvested, illegally used, replenished and inspired by a plethora of found sources including those of David Leis- ter, Greg Pope, Dirk De Bruyn, Maia Cybelle Carpenter, Frank Bruinsma, Steve Sanguedolce, Rebecca Moran, Jurgen Reble, Ben Russell, Jeff Scher and many many others. -
The Fine Art of Photography Eighth Annual Juried Photography Exhibition 2018 Prospectus
THE FINE ART OF PHOTOGRAPHY EIGHTH ANNUAL JURIED PHOTOGRAPHY EXHIBITION 2018 PROSPECTUS Categories: • Color • Black and White • Non-Traditional (Please note that the Judges’ assessment of which category an entry will be judged is final.) AwarDs: • $500 Best in Show, • Each Category: $250 First Place, $100 Second Place, • Two Honorable Mentions per category Color and Black and White Categories: This is traditional photography. The image has conventional post processing techniQues that enhance the image appearance without changing the pictorial content. Edits and/or effects that changes an image’s appearance from being a normal photograph may be categorized as Digitally Enhanced. Cropping, sharpening, and removal of obtrusive artifacts such as dust specks are allowed. Black and White includes monochromatic and sepia tones. Non-TraDitional Photography (incluDes the following) • Digitally EnhanceD: An image that does not meet the stricter reQuirements for the Color or Blank & White categories, or which has been digitally enhanced beyond the appearance of a photograph. It may have subjects or lighting added, removed or otherwise modified to create the image. • Vintage anD Alternative Printing Processes: Despite having been pioneered decades ago, alternative- printing processes — the photogram, daguerreotype, tintype, collodion, Mordançage and others — are still widely practiced. The 21st century has witnessed increased popularity among these and other organic printing methods, as photographers gravitate to the uniQue, unpredictable and fascinating print characteristics achievable through these time-honored techniQues. This is the perfect opportunity to show off your darkroom skill and creative vision. • Pinhole/Plastic Camera Imagery: This category includes analog photography, e.g. pinhole cameras and plastic cameras like the Holga, Diana and Lomo. -
Making Photos with the Sun
MAKING PHOTOS WITH THE SUN For her exhibition at Storm King this year, artist Kiki Smith made this artwork, called river light. It is made up of nine brilliant blue flags arranged in a circle. Each flag is an image of sunlight sparkling on water. Kiki took these images from videos she made of the East River in New York City as she walked from her apartment to a nearby pool to swim. To make her flags, Kiki Smith used an almost 180-year- old photography process called cyanotype. A cyanotype is a kind of photograph made without a camera. It is made by coating paper or fabric in chemicals that change color when exposed to light. Then, an object or a transparent photo negative is placed on the treated paper and exposed to the sunlight. Everywhere the sunlight reaches, the paper turns deep blue, but everywhere that it is covered up, where the sun does not reach, stays white. Originally, cyanotypes were used to copy text and architectural drawings. Even though they’re no longer copied by cyanotype, that’s why building plans are still sometimes called blueprints! Anna Atkins was the first person to use the cyanotype process to record other kinds of things beside text and building plans. In 1843 she began placing algae and plant specimens directly onto cyanotype paper and exposing them to light to record their exact size and shape. She included over three hundred of these photograms, or photos made by placing objects directly onto photo-sensitive paper, in the very first book illustrated entirely with photographs, Photographs of British Algae: Cyanotype Impressions. -
KINDERMANN .Ilm Developing System
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