PHOTOGRAPHY EQUIPMENT and TECHNIQUES a Survey of NASA
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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. -
Photo History Newsletters • Vol
THE AMALGAMATED PHOTO HISTORY NEWSLETTERS • VOL. 2-2 2021 We hope that the Covid pandemic soon passes away so we can get back to normal with regular meetings and events. In the interim here are addi- tional newsletters to keeping you read- ing. Please enjoy. Ken Metcalf of the Graflex Journal has another interesting issue which should entertain you well. Another fine newsletter comes from The Western Canada Photographic Historical Association in British Colum- bia with some fine reading content. Permissions granted: Graflex Journal– Ken Melcalf The Western Canada Photographic Historical Association– Tom Parkinsion SHARING INFORMATION ABOUT GRAFLEX AND THEIR CAMERAS ISSUE 3 2020 FEATURES some leather that was a good match. Thickness was right, color was good, and the pebble grain was close National Graflex Gets a New Coat by Paul S. Lewis……..….....….....….1 enough. So, I had them send me a large sheet; 12x17. Camera Group - Roger Beck………….…….………...….…..…………....2 Having a good supply would allow for some mistakes Viewing Wild Animals at Night by William V. Ward …….…...…………..4 and assure me that there would be enough length and Hold It! Part 1 by Ken Metcalf.……………….…………….…………….....5 width to cover the missing panels with one complete Graflex Patents by Joel Havens….…..………………...…………….…...12 piece. The source I used was Cameraleather ([email protected]). I did just check with them to be sure similar material is available. The report is that although the material is available, supply is limited. So, with material and camera in hand, the next step Ed: Mr. Lewis is a Graflex Journal subscriber and author was to get the new cover panels cut out and attached. -
Process Camera, Stripping, and Platemaking. Teacher Guide. INSTITUTION Mid-America L)Cational Curriculum Consortium, Stillwater, Okla
DOCUMENT RESUME ED 327 663 CE 056 673 AUTHOR Feasley, Sue C., Ed. TITLE Graphic Arts: Process Camera, Stripping, and Platemaking. Teacher Guide. INSTITUTION Mid-America l)cational Curriculum Consortium, Stillwater, Okla. REPORT NO 90-007460 PUB DATE 90 NOTE 285p.; For related documents, see CE 056 671-672. AVAILABLE FROM Mid-America Vocational Curriculum Consortium, Inc., 1500 West Seventh Avenue, Stillwater, OK 74074 (order no. 802001: $22.00). PUB TYPE Guides - Classroom Use - Guides (For Teachers) (052) EDRS PRICE MF01 Plus Postage. PC Not Available from EDRS. DESCRIPTORS Behavioral Objectives; Competency Based Education; Course Descriptions; Curriculum Guides; =Graphic Arts; Learning Activities; =Photographic Equipment; *Photography; Postsecondary Education; Production Techniques; Secondary Education; Units of Study ABSTRACT This curriculum guide is the second in a three-volume series of instructional materials for competency-based graphic arts instruction. Each publication is designed to include the technical content and tasks necessary for a student to be employed in an entry-level graphic arts occupation. Introductory materials include an instructional/task analysis that correlates job training with related information for this course; a list of tools, equipment, and materials; and a list of 12 references. Each of the seven instructional units includes some or all of these basic components: performance objectives; suggested activities for teachers and students; information sheets; assignment sheets; job sheets; visual aids; tests; and answer keys. Units are planned for more than one lesson or class period. Unit topics include the process camera and other darkroom equipment; line photography; halftone photography; other darkroom techniques; overview of procass color photography; stripping procedures; and platemaking procedures. -
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. -
Chapter 3 (Aberrations)
Chapter 3 Aberrations 3.1 Introduction In Chap. 2 we discussed the image-forming characteristics of optical systems, but we limited our consideration to an infinitesimal thread- like region about the optical axis called the paraxial region. In this chapter we will consider, in general terms, the behavior of lenses with finite apertures and fields of view. It has been pointed out that well- corrected optical systems behave nearly according to the rules of paraxial imagery given in Chap. 2. This is another way of stating that a lens without aberrations forms an image of the size and in the loca- tion given by the equations for the paraxial or first-order region. We shall measure the aberrations by the amount by which rays miss the paraxial image point. It can be seen that aberrations may be determined by calculating the location of the paraxial image of an object point and then tracing a large number of rays (by the exact trigonometrical ray-tracing equa- tions of Chap. 10) to determine the amounts by which the rays depart from the paraxial image point. Stated this baldly, the mathematical determination of the aberrations of a lens which covered any reason- able field at a real aperture would seem a formidable task, involving an almost infinite amount of labor. However, by classifying the various types of image faults and by understanding the behavior of each type, the work of determining the aberrations of a lens system can be sim- plified greatly, since only a few rays need be traced to evaluate each aberration; thus the problem assumes more manageable proportions. -
KODAK Advantix Films
TECHNICAL DATA / ADVANCED PHOTO SYSTEM February 2002 • E-7003 KODAK ADVANTiX Films Welcome to the innovative world of the Advanced Photo Kodak offers three color negative films for the Advanced System and KODAK ADVANTiX Films! Photo System. These films share the following features: At the heart of the Advanced Photo System, KODAK ADVANTiX Films are truly hybrid products. They use Features Benefits breakthrough photographic emulsion and coating • KODAK Film Safe • Worry-free, drop-in loading technologies to deliver excellent image quality in the smaller Cassette • Automatic film threading and rewinding film format. • Safe storage of negatives At the same time, Kodak’s magnetics technology enables • Index print of all exposures coating the entire surface of the film with a transparent • Choice of picture • “Classic,” similar to 35 mm prints magnetic layer. This layer records digital information that formats on the same • “Group,” for slightly wider shots links all Advanced Photo System components through roll • “Pan,” for panoramic scenes information exchange (IX). IX permits communication • Film Status Indicator • Easy identification of status of between you, the camera, the film, and the photofinishing (FSI) on cassette film inside the cassette— unexposed, partially exposed, equipment in the lab that processes and prints your film. exposed, or processed ADVANTiX Films come in a unique elliptical film • Choice of film speed • Selection of 100-, 200-, or cassette called a KODAK Film Safe Cassette. A code 400-speed film number is assigned to each cassette and the film inside. The • Information Exchange • Exposure and print format data number enables automatic rematching of the cassette and (IX) recorded on the film to optimize film in photofinishing operations. -
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. -
FILM FORMATS ------8 Mm Film Is a Motion Picture Film Format in Which the Filmstrip Is Eight Millimeters Wide
FILM FORMATS ------------------------------------------------------------------------------------------------------------ 8 mm film is a motion picture film format in which the filmstrip is eight millimeters wide. It exists in two main versions: regular or standard 8 mm and Super 8. There are also two other varieties of Super 8 which require different cameras but which produce a final film with the same dimensions. ------------------------------------------------------------------------------------------------------------ Standard 8 The standard 8 mm film format was developed by the Eastman Kodak company during the Great Depression and released on the market in 1932 to create a home movie format less expensive than 16 mm. The film spools actually contain a 16 mm film with twice as many perforations along each edge than normal 16 mm film, which is only exposed along half of its width. When the film reaches its end in the takeup spool, the camera is opened and the spools in the camera are flipped and swapped (the design of the spool hole ensures that this happens properly) and the same film is exposed along the side of the film left unexposed on the first loading. During processing, the film is split down the middle, resulting in two lengths of 8 mm film, each with a single row of perforations along one edge, so fitting four times as many frames in the same amount of 16 mm film. Because the spool was reversed after filming on one side to allow filming on the other side the format was sometime called Double 8. The framesize of 8 mm is 4,8 x 3,5 mm and 1 m film contains 264 pictures. -
I. Basic Operation (Preparation)
10 lcon indicators used in this manual BASIC OPERATION (PREPARATION) BASIC OPERATION Operation direction Attention Lamp blinking I. BASIC OPERATION (PREPARATION) Attaching the Camera Strap 11 123 BASIC OPERATION (PREPARATION) BASIC OPERATION 1. Use a coin or similar object to slide the clasp 3. To remove the strap, repeat step 1. in the direction of the arrow. 2. Put the clasp onto the strap lug of the cam- • Adjust the length of the strap with the buckle. era with the arrow indication facing out, and • After fitting the strap and adjusting the length, pull slide the lock plate back to the original posi- the strap hard to confirm that the strap has tion. securely attached to the camera. • There is a pocket on the strap so you can store a small accessory. 12 Loading the Batteries 123 BASIC OPERATION (PREPARATION) BASIC OPERATION 1. To remove the battery holder, lift the battery 3. To secure the battery holder, turn the battery holder release knob and turn it in the direc- holder release knob in the direction of the tion of the arrow. arrow. 2. Load six 1.5V AA-size batteries in the battery holder in accordance with the diagram located in the battery holder. 13 • This camera requires battery power for operation. Always use six 1.5V AA size batteries. • The ISO film speed and number of exposed frames are unchanged if the batteries are replaced. (PREPARATION) BASIC OPERATION • Keep spare batteries on hand when shooting out doors or while traveling. • Use of the optional Remote Battery Pack 645 is recommended when the camera is used in extremely low temperatures. -
Technical Notes on Narcissus (1983)
Technical Notes on Narcissus (1983) In the first two parts of the film, where Narcissus encounters first the girl and then the boy, no special optical effects were used. The original shooting was done mainly in slow motion, with the camera running at 48 frames per second; some shots were also taken at 24 fps, and 36 fps. In the final editing these speeds were freely intercut, depending upon the nature of the dancing. In the third part of the film, Narcissus encounters himself, first as a reflection in a pool, then as a live person, who has come out of the pool to confront himself. Since we could not find identical twin dancers, Narcissus had to perform two roles in succession – his real self (N1) and his reflected other self (N2). In order to combine his two performances within any given shot, we had to use an optical printer; this would have been necessary anyway, since we intended to employ a number of special optical effects. As is the normal procedure in optical work, interpositives were made; these were loaded on the projector heads of the optical printer, and the special effect were created while shooting onto an optical negative Here is a description and explanation of the various effects and techniques, as they appear chronologically in the film. The Initial Full-figure Self Encounter Sequence Only in this one particular shot was a large mirror used. To have Narcissus 1 move out of step with his mirrored reflection Narcissus 2, we made two passes in the optical printer; in the first, we masked off N2 and shot N1’s action normally; in the second pass we masked off N1, and by skip-framing, freeze-framing or double-framing, we advanced, retarded and resynchronized N2’s action relative to N1’s. -
Durst Da900 Manual Us B.Pdf
SPECIFICATION OF COMPONENTS AND OPERATING KNOBS Serial number Description Page 1) Base 2 2) Projection board 2 3) Hexagonal screws for fixing the column in the base 2 4) Column 2 5) Enlarger head 2 6) Fi Iter drawer 2 7) Mirror housing 2 8) DANOCON 50 twin condenser 2 9) DANOCON 105 twin condenser 2 10) DUONEG negative carrier 2 11) AUTONEG negative carrier 12) Lenses with their lens board 2 13) Serial number plate 3 14) Angular bar on column 3 15) Lock of the quick-locking lens holder 3 16) Lens carrier 3 17) Cable with plug and switch 4 18) Cover of the I ight hood 5 19) Fixing screws for AUTOCALO 4 20) Red filter wheel-grip 5 21) Shutter wheel-grip 6 22) Grip bar for opening the serial number plate 6 23) Condenser grip (DANOCON 50) 6 24) Hooks on the condenser mounti ng 6 25) Condenser fixing bar 6 26) Pushing-bar for changing the lenses 6 27) Lamp socket 6 28) Wheel-grip for vertical adjustment of the enlarger head 29) Locking screw for the enlarger head adjustment 7 30) Guide tracks for the heat absorbing filter 4 31) - 32) Wheel-grip for focusing both the lenses 10 33) Lens carriage 14 34) Focus variator wheel-grip 14 35) Locking knob of focus variator 15 36) Cross-slot screws on the base board 18 37) Green filter 19 38) Steel bands 20 DURST DA 900 A precision professional enlarger for all negative formats up to 20 x 3112" (6.5 x 9 cm.) including 70 mm. -
SKYLAB: a PROGRESS REPORT Abstract. the Skylab Apollo
SKYLAB: A PROGRESS REPORT R. M. MacQUEEN High Altitude Observatory, National Center for Atmospheric Research*, Boulder, Colo., U.S.A. (Presented by G. Newkirk) Abstract. The Skylab Apollo Telescope. Mount contains six principal instruments spanning the X-ray to visible wavelength range. These experiments include an exter nally occulted white light coronagraph from the High Altitude Observatory which observes the outer solar corona from 1.5 to 6.0 radii from Sun center, in broadband (3500-7000 A) white light with approximately 10" spatial resolution. An X-ray spectrographic telescope of the American Science and Engineering, Inc. employs six filters and an objective grating to observe a 48' field of view in the wavelength range 3.5-6.0 A, with approximately 3" spatial resolution. A scanning ultraviolet poly- chromator, spectroheliometer of the Harvard College Observatory is capable of observing 1.2 A spectral resolution from 300-1350 A with a 7 detector array. The field of view of the instrument is determined by its operational mode and ranges from 5' x 5' to 5" x 5". An X-ray telescope from the Marshall Space Flight Center employs five metal filters to observe the 5-33 A spectral region with 2.5" spatial resolution over the 40' field of view. The Naval Research Laboratory has supplied two instruments: the first, an XUV spectroheliograph, covers wavelength regions 150-335 A and 321-625 A, with somewhat better than 5" spatial resolution and a spectral resolution of 0.13 A (for a 10" feature). The second instrument, a slit spectrograph, covers the spectral range 970-3940 A in two bands, 970-1970 and 1940-3940, and has 0.5 and 0.1 A spectral resolution respectively, with a 2" x 60" slit.