DOCSLIB.ORG

The Cooke PS945: a Visioning Tool

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Cooke PS945: a Visioning Tool v 1.4 The Cooke PS945: A Visioning Tool by Donald M. Tsusaki throw the background out of focus or keep it sharp, which at a minimum means INTRODUCTION paying attention to negative space, or photographically symbolizing depth. One The Cooke 229mm f/4.5 PS945 Portrait is can also consider how an out of focus one of the most unique lenses available to background is rendered, not just as an a large format photographer. Although uncontrollable photographic symbol of “out many think of the PS945 as just a soft- of focus,” but where the diffused, blurred focus lens, implying that it therefore is of blobs of light or color become image limited use, the PS945 is in fact highly elements in themselves. versatile. Beyond its soft-focus as well as excellent sharp-focus capabilities; beyond By making the choices about how image its moderately long focal length, suitable elements are rendered more explicit, the for product or portrait photography; PS945 can help to heighten the beyond its flare-free coatings and super photographer’s awareness as he or she build quality, the PS945 can also act as, if sees photographically. This is what could you will, a visioning tool. make the PS945 a visioning tool for some photographers. The large format camera serves two basic roles, that of previewing, then capturing Overall the body of knowledge about the the image. Capturing the image PS945 is relatively sparse. There are a encompasses all of the techniques and few good resources from which one can technologies, whether digital or analog, learn about the PS945. With the lens, that ultimately resulting in converting the Cooke includes a CD that has an article image to some sort of presentation format. from Jay Allen and a few pictures by Clive In its previewing role, the large format Russ. Jay’s article gives some good hints camera, essentially the lens and ground about how to get the most out of this lens. glass, is an aid to photographic seeing. Though the lens has been on the market for about 2 years, and certainly many One of the first exercises in Betty photographers in that time have been Edwards´ book, “Drawing on the Right exposed to the lens at workshops, so far Side of the Brain,” is to draw an upside- few users have shared out their down picture of Igor Stravinsky. The idea experiences. Searching the Internet yields is to shut down the left-brain that wants to some nuggets of knowledge about the name objects, and to allow the right brain PS945, but of course in no organized to take over. The ground glass serves fashion. Most of the search returns, exactly this purpose in the preview role. however, lead to questions about the lens Edwards also asserts that drawing and in many cases speculations about requires five basic skills, the perception of how the lens performs. edges, spaces, relationships, lights and shadows, and the whole (gestalt). The To augment the body of knowledge, this lens has the task of projecting the image article shares my first learnings about the onto the ground glass, an image that characteristics and behaviors of the contains edges/lines, spaces, PS945. My experimentations so far have relationships, etc. centered around getting a handle on the basic characteristics of the lens: soft- The PS945, just like any other large format focus, its uncommon optical behaviors, lens, fulfills its role of projecting an image. and some mechanical notes. I conclude The way it forms the image is what gives it with a proposal about building a added value in making a picture. One has community of PS945 users that could be to make a choice whether to render an aimed at extending the body of edge or line in the image as soft or sharp, knowledge. which means one has to pay attention to the line. One has to decide whether to The Cooke PS945: A Visioning Tool page 1 of 10 http://www.photoverge.com © 2004 Donald M. Tsusaki. All rights reserved. Republication or redistribution of content by the author, including by framing or similar means, is prohibited without the prior written consent of the author. 'PhotoVerge' is a trademark of Donald M. Tsusaki. v 1.4 The Cooke PS945: A Visioning Tool In spite of its rarity, the Quality IV became “You may not, and probably will not find known for its imaging qualities. out their full possibilities for some time. I had one lens in my possession for over Does the PS945 exactly duplicate the two years before I discovered that it was imaging characteristics of the Quality IV? the best one I owned.” Having never used a Quality IV I have no point of reference. Based on dialogs I Alvin Landon Coburn, 1920, describing have had with representatives from Pinkham and Smith lenses Cooke, I am convinced that they are being genuine with their claims. My belief is that FIRST IMPRESSIONS the passion of the Cooke lens team to capture that je ne sais quoi of the Quality Coburn may have had to discover the IV in their design dominated the creation value of his lens over two years, but these process. days one needs to get a return on investment much quicker. At least, a Beyond historical verisimilitude, the PS945 photographer would want to achieve the is successful in its own right. Its modern greatest amount of satisfaction from his or design surely improves upon the original. her PS945 as quickly as possible. Coburn The manufacturing process most certainly surely did not have any means as effective produces more consistent results today. as the Internet to acquire knowledge. The Copal 3 shutter makes exposure Today it is possible to speed up the predictable, and of course it is completely learning process by accessing the compatible with electronic flash. The lens experiences of others. Structuring a body coatings are superb. Even in strong of knowledge makes the learning process backlight there is no ghosting or flaring. even quicker. However, reading and One could argue that the lens coating research ultimately satisfies mainly the makes it impossible to exactly replicate the instant gratification needs of the left brain; behaviors of the uncoated Quality IV for in the spirit of Coburn’s quote, one should which flare may have been a key quality. expect to spend some time using the Part of what makes the PS945 so versatile PS945 in artistic endeavors to really is that the design fuses the best of modern discovers its full possibilities. optics and manufacturing with the imaging characteristics of its famous forebear – If the PS945 anywhere near approximates and it is readily available today. the imaging characteristics of its ancestral predecessor, the Pinkham and Smith What makes the PS945 “versatile”? The Visual Quality IV must certainly have been most obvious characteristic that a wonderful tool to use. Though Coburn distinguishes it from other modern lenses may not have been talking specifically is its ability to produce a range of image about the Visual Quality IV, it is reflective qualities from soft to sharp. In the middle of the way Pinkham and Smith brought of the soft-sharp spectrum it can produce lenses to the market – designing lenses images with a nice buttery feel. And on based on the specific requirements of sharp end, it is equally competent as other certain photographers and producing them lenses for f/64-type, all-over sharp images. in relatively small quantities. According to In parallel, the PS945 gives slightly lower Barbara Lowry’s history article, also contrast for some subjects on the soft end included on the PS945 CD, J. Wallace and crisp high contrast on the sharp end. It Gillies requested Pinkham and Smith to performs well for distant subjects as well create the lens that was dubbed the Visual as in the macro range. The 229mm focal Quality IV. Following their customary length is a very good compromise business model, P&S produced few of between the normal lens range and the these lenses. Perhaps by shunning typical portrait focal lengths. It has a marketing P&S was able to keep demand slightly wider maximum aperture within scope of their production capacity. compared to most lenses available today, The Cooke PS945: A Visioning Tool page 2 of 10 http://www.photoverge.com © 2004 Donald M. Tsusaki. All rights reserved. Republication or redistribution of content by the author, including by framing or similar means, is prohibited without the prior written consent of the author. 'PhotoVerge' is a trademark of Donald M. Tsusaki. v 1.4 The Cooke PS945: A Visioning Tool and can reach a smaller aperture (f/90) contain links to larger versions of these than many lenses provide. Specialty lens pictures on the PhotoVerge website.) is hardly an apt description. The first couple of pictures show how soft- focus varies with f/stop. Illustrations 1 and SOFT-FOCUS 2 were taken deliberately against a cluttered background, in part to get a feel The soft-focus behavior of the lens is non- about the “bokeh” of the lens. linear. If you use a reasonably strong loupe, perhaps 6x or more, it is educational to observe how soft-focus dials in as you vary the aperture. This is easiest to notice by looking at a specular highlight or a very distinct line created between a light and a dark object. Going from f/11 to f/8 there seems to be little soft-focus introduced, and one has to look hard for any differences. Between f/8 and f/5.6 the soft-focus starts to become easily noticeable.
Load more

Recommended publications
  • Photoflex Catalog.Pdf
    Photo by: Ian Spanier PROFESSIONAL LIGHT SHAPING TOOLS 10 Softboxes for Strobe/Cool Lights Softboxes Photofl ex® began producing the LiteDome® softbox in 1985 and remains the world’s most popular softbox for professional photographers. Here are just a few of the features that separate Photofl ex® from the competition: • Our proprietary DuraCloth fabric interior softens light, eliminates leaks, and insures neutral color rendition. • Medium, large and extra large LiteDomes include patented Quick-Release Corners (QRC, see page 6) for easy assembly and break-down, with removable face and interior baffl e. • Optional fabric grid attaches with Velcro® for added control. LiteDome® The LiteDome® is our most popular softbox model due to its simplicity and high performance design. The LiteDome® is the HalfDome® original Photofl ex® white interior softbox model, designed over 30 years ago. Perfect for every SoftBox for strobe only ® photography application, the LiteDome ® consistently delivers even, natural light from The HalfDome features a narrow profi le, your strobe unit. perfect to use as a hair light or rim light for portraits or for getting sleek, elongated Extra Large [XT-4XLLD293] 871150 catchlights in product photography. A Dimensions: 53 x 70 x 35 in. / 134 x 177 x 89cm removable StripMask is included for Large [XT-3LLD293] 871147 creating an even narrower light source, Dimensions: 34 x 45 x 24.5 in. / 86 x 114 x 62cm reducing the dome width by half. Photo by: Scott Stulberg Medium [XT-2MLD293] 871144 Medium [FV-HDMW] 870349 Dimensions: 24.5 x 32 x 17 in. / 62 x 81 x 43cm Dimensions: 15.5 x 55 x 23 in.
    [Show full text]
  • Softbox | Octabox 2 Softbox System
    Softbox | Octabox www.broncolor.com 2 Softbox System The broncolor Softbox System Square or octagonal? Let your style decide The new broncolor Softboxes These quality, high-performance light shapers extend your flash system are optimised light shapers for and offer countless additional lighting effects. Three different diffusers precise lighting design in nine enable a soft light with slight central emphasis through to perfectly different shapes and sizes. homogeneous distribution over the entire area. With a light grid, light Square, rectangular, as a strip or control can be even more precise. octagonal. The special internal coating guarantees optimum efficiency. Coloured markings on the tensioning rods and the support ring enable simple, quick erection and dismantling. With appropriate adapters, Softboxes can also be used with flash units from other manufacturers. 3 Softbox System 33.565.00 Softbox 90 x 120 cm (3 x 3.9´) The Big One: Softbox with the classical 3:4 aspect ratio. Perfect for use anywhere where large area and soft lighting is required As with any rec- tangular (but not square) Softbox, you can turn it through 90° to achieve another, slightly different, lighting characteristic. 33.566.00 Softbox 120 x 180 cm (3.9 x 5.9´) The Biggest: Over two square metres of light! Even over the shortest distance this Softbox illuminates a whole body very uniformly and this short distance from the model (or object) guarantees an unbelievably soft and beautiful light. It infuses spaces with a certain magic. 33.564.00 Softbox 30 x 120 cm (1 x 3.9´) The Strip Softbox: The Striplite among the textile Boxes is perfect for illuminating edges in product photography and as a hair-light in the portrait and fashion fields.
    [Show full text]
  • Fish-Photography-Post-Processing.Pdf
    B Spring 2015 American Currents 26 PHOTOGRAPHY AND POST-PROCESSING TECHNIQUES FOR NATIVE FISHES Scott Smith and Jesse Bissette North Carolina Division of Marine Fisheries, Morehead City, NC INTRODUCTION have an older flash knocking about, it will work as well. Just There are many well-documented methods for photograph- know that you will be required to adjust the flash settings ing fishes, using everything from point-and-shoot cameras manually. Price is the second reason for choosing this flash, to professional DSLRs. These methods often produce excel- as a used SB-600 costs about $200. We find this well within lent photographs, albeit with varying background colors our “oops, I dropped it in the water” budget. and different lighting, depending on the weather. In an ef- fort to standardize our photographs, we use an approach Lens that builds off of known methods, consistently provides In order to properly resolve the fins of small fishes, a macro solid black backgrounds, removes any concern over ambient lens is an absolute necessity. We use the Nikon 40mm f/2.8G lighting, and reveals a level of detail not normally seen in AF-S Micro Nikkor on the D3000 and the 60mm f/2.8G photographs of fish. This article aims to outline our process AF-S Micro Nikkor on the D610. Due to the cropped sensor so that anyone, whether equipped with entry-level or profes- of the D3000, both these setups have an equivalent working sional gear, will be able to duplicate it. focal length (i.e., the angle of view is the same).
    [Show full text]
  • Master Professional Portrait Lighting with These 20 Essential Studio Setups
    LIGHTING GUIDE Master professional portrait lighting with these 20 essential studio setups REMBRANDT WITH A PORTALITE SOFTBOX REMBRANDT THROUGH AN UMBRELLA REMBRANDT WITH A HONEYCOMB GRID REMBRANDT WITH A SILVER UMBRELLA KIT: One D-lite RX4 head, one Clip-lock KIT: One D-lite RX4 head, KIT: One D-lite RX4 head, KIT: One D-lite RX4 head, Stand, one Portalite Softbox one Clip-lock Stand, one 16cm Reflector, one Clip-lock Stand, one 18cm Reflector one Clip-lock Stand, one 16cm Reflector, Position the light high and to the side to one Shoot-through Umbrella with Honeycomb one Silver Umbrella create a triangle on the model’s cheek. The Position the light high and to the side as with Position the light in the same manner as the Position the light in the same manner as the shadow of the nose should point towards the the ‘Rembrandt with a Portalite Softbox’ previous ‘Rembrandt’ techniques; the light previous ‘Rembrandt’ techniques. The light edge of the lips. The Portalite creates a soft setup. The light is slightly less contrasty, through the honeycomb grid is stronger and bouncing from the silver umbrella is more directional effect. because the light is less directional more dramatic. The grid makes it very easy direct and wraps around the features of the and there is always some reflection to direct the light on to the model and away face yet still creates the shadow from the from the studio surroundings. from the background, which becomes dark. nose towards the mouth. REMBRANDT SHORT REMBRANDT BROAD SPLIT SPLIT WITH FILL KIT: One D-lite RX4 head, one Clip-lock KIT: One D-lite RX4 head, one Clip-lock KIT: One D-lite RX4 head, one Clip-lock KIT: One D-lite RX4 head, one Clip-lock Stand, one Portalite Softbox Stand, one Portalite Softbox Stand, one Portalite Softbox Stand, one Portalite Softbox, one Use the principles of ‘Rembrandt’ lighting Use the principles of ‘Rembrandt’ lighting Position a light to one side of the model in small reflector to create the triangle of light on the face.
    [Show full text]
  • Portraiture and the Human Subject Print Viewing
    1 Natalie Krick, My Head on Mom's Shoulder, from the "Natural Deceptions" series, 2014 PORTRAITURE AND THE HUMAN SUBJECT PRINT VIEWING This print viewing introduces students to a range of photographs with a focus on portraiture where visual information such as setting, clothing, body language, and facial expression speak to the identity of the subject. Choices made by the photographer such as use of vantage point, lighting, framing, timing and composition also impact the viewer’s perception of the subject. The 2018–2019 exhibition season is generously sponsored by The Andy Warhol Foundation for the Visual Arts, the Illinois Arts Council Agency, the City of Chicago's Department of Cultural Affairs and Special Events (DCASE), and the Efroymson Family Fund. 22 JULIA MARGARET CAMERON British, 1815–1879 Eleanor, 1948 Julia Margaret Cameron's subjects were almost always family 1984:10 members or friends from a social circle of prominent cultural figures. Sir John Frederick William Herschel was a famous Victorian astronomer whose contributions to photography include the invention of the cyanotype "blue-print," inventing photographic fixers, and even coining the term “photography” in 1839. Cameron was a lifetime friend of Herschel, whom she met in South Africa while visiting the Cape of Good Hope in 1835 and later photographed on multiple occasions. While Cameron rigorously sought to maintain the distinction between art photography and "professional" photography (she proudly saw herself as part of the former), she was not unconcerned with the market for her work. That she obtained a copyright for "Herschel" (on April 9, 1867) suggests that she thought the image was especially marketable.
    [Show full text]
  • A Curriculum Guide
    FOCUS ON PHOTOGRAPHY: A CURRICULUM GUIDE This page is an excerpt from Focus on Photography: A Curriculum Guide Written by Cynthia Way for the International Center of Photography © 2006 International Center of Photography All rights reserved. Published by the International Center of Photography, New York. Printed in the United States of America. Please credit the International Center of Photography on all reproductions. This project has been made possible with generous support from Andrew and Marina Lewin, the GE Fund, and public funds from the New York City Department of Cultural Affairs Cultural Challenge Program. FOCUS ON PHOTOGRAPHY: A CURRICULUM GUIDE PART IV Resources FOCUS ON PHOTOGRAPHY: A CURRICULUM GUIDE This section is an excerpt from Focus on Photography: A Curriculum Guide Written by Cynthia Way for the International Center of Photography © 2006 International Center of Photography All rights reserved. Published by the International Center of Photography, New York. Printed in the United States of America. Please credit the International Center of Photography on all reproductions. This project has been made possible with generous support from Andrew and Marina Lewin, the GE Fund, and public funds from the New York City Department of Cultural Affairs Cultural Challenge Program. FOCUS ON PHOTOGRAPHY: A CURRICULUM GUIDE Focus Lesson Plans Fand Actvities INDEX TO FOCUS LINKS Focus Links Lesson Plans Focus Link 1 LESSON 1: Introductory Polaroid Exercises Focus Link 2 LESSON 2: Camera as a Tool Focus Link 3 LESSON 3: Photographic Field
    [Show full text]
  • Rgb Portrait Kit Usage Instructions ®®
    RGB PORTRAIT KIT USAGE INSTRUCTIONS ®® LIGHT STANDS Unpack each light stand and loosen leg locks. Pull the upright section upwards while pushing the leg bracket down to extend the tripod legs. Tighten the knob on the leg bracket to secure the base. Loosen and extend each upright section to your desired height, then tighten to lock. Set the light on the top pin of the stand, and tighten the side knob of the light stand adapter to secure the light in place. AC POWER CORD Thread the included AC power cord into the AC receiver on the back of the light. Plug into nearby wall plug. Switch the “On/Off” button to the “On” position. The LED back z should illuminate. ATTACH AC POWER CORD OPEN LIGHT STANDS & MOUNT LIGHT HEAD SOFTBOX ATTACHMENT Unpack and open each softbox with care. Softboxes will open rapidly after tight packaging. OPEN & UNFOLD SOFTBOX Line up softbox opening with LED light head, and stretch and pull over the light head until it fits snugly over the light. STRETCH SOFTBOX OPENING OVER LIGHT HEAD Attach diffusion sheet to the front of the softbox by aligning the Velcro edges to the corners of the softbox, and press firmly to attach all edges. ATTACH FRONT DIFFUSER TO SOFTBOX VELCRO EDGES PROFESSIONAL PHOTOGRAPHY MADE SIMPLE 800.624.8891 SAVAGEUNIVERSAL.COM USAGE INSTRUCTIONS ®® RGB PORTRAIT KIT DISPLAY REAR PANEL CONTROL If the light is paired with the Savage Light Manager app, a blue light next to the Bluetooth BLUETOOTH INDICATOR RGB INDICATOR icon on the back panel will be illuminated.
    [Show full text]
  • Ringflash C Experimenting with and Without Shadow
    Ringflash C Experimenting with www.broncolor.com and without shadow 2 Ringflash C Ringflash C - Orchestrating reflections and shadows more deliberately and spontaneously. The light of a Ringflash is known for its very uniform – at best slight- ly centre oriented – fill. Honeycomb grids allow the lighting angle to be directed more accurately. As a re- sult, illumination similar to a spot- light is achieved while retaining the typical shadowless characteristics the Ringflash is known for. The angle of the Ringflash C can be adjusted independently from the camera, all- owing more flexibility for directing light to the area where accentuation is desired. 3 Ringflash C Light characteristics When using a Ringflash, the light source is evenly distributed around Make it shine Make and very close to the lens. Light without shadows is the result. With one exception: If a background is not illuminated with additional (natural or artificial) light, shadow contours may appear around the object or model. These shadows are larger when the object is farther Fill in perfectly away from the background. You can see these shadows and the influence of the distance very clearly in the pictures of the chairs (p. 12). Use the Ringflash differently 4 Ringflash C How To – Make it shine In the following photograph the shadow contours cannot be seen be- cause the background is illuminated by natural daylight. A Ringflash is a very hard light. This is why shiny materials take on a beau- tiful glow. In this shot, the Ringflash C makes silk look like silk (Softer or even diffused light might make silk look like cotton.) As mentioned earlier, the light of a Ringflash comes from very close to the optical axis.
    [Show full text]
  • The Institute of Photography Equipment and Facilities Hire – 2018/2019 ______
    The Institute of Photography Equipment and Facilities Hire – 2018/2019 ________________________________________________________________ As Europe’s premiere photographic education facility we are pleased to be able to offer our facilities for hire on a commercial basis. With 9 studios, darkrooms, digital suites and a professional print facility as well as cameras, lighting and accessories from the world’s top brands, we can meet the needs of the most demanding professional whilst still catering for the advanced amateur. We have far too much equipment to list everything here, so if you can’t see it, please ask. Call the Photography stores on 01326 213703 for details or email us at: [email protected] More information on our FaceBook page: Falmouth University Photography External Users All prices exclude VAT at 20% The Institute of Photography Equipment and Facilities Hire – 2018/2019 ________________________________________________________________ Daily 1/2 Day Studios (9am to 9pm) (6 hrs) Copy Stand and lighting rig for reproduction of flat artwork. Please note this is not in a private studio. £25.00 £15.00 Studio 1 (8m x 8m approx) with large access door, infinity coving, Elinchrom computer controlled flash lighting on overhead gantries (4 heads plus window light), MacPro computer with Capture One £135.00 £90.00 Studio 2 (8m x 8m approx) infinity coving, Profoto computer controlled flash lighting on overhead gantries (6 heads available), MacPro computer with Capture One £135.00 £90.00 Studio 3 (8m x 8m approx) Elinchrom computer controlled flash lighting on overhead gantries, 6 heads available, paper backgrounds, MacPro computer with Capture One £135.00 £90.00 Studio 4 (8m x 8m approx) infinity coving, Elinchrom computer controlled flash lighting on overhead gantries (6 heads available), paper backgrounds, MacPro computer with Capture One £135.00 £90.00 Studio 5 - (5.8m x 5m) smaller studio, paper backgrounds, 4 Elinchrom flash heads on stands, MacPro computer with Capture One.
    [Show full text]
  • Beau Newsletter
    See more results from Meghan’s experiment using a Fujifilm XT-2 body with an older Helios 44-2 58mm f/2 manual Russian lens. Page 15. Beau Newsletter - September 2019 Canon EOS 90D Announcement • New From Sony • Rebates and Specials on Equipment, Film, and Darkroom Supplies In Time for Back to School! • Additions to the Self-serve Printing Station at Beau • Used Leicas • Used Pentax K1000 Cameras • PHOTOGraphie Festival and Upcoming Workshops • more... BEAU NEWS SEPTEMBER 2019 DIGITAL September as a kit with the 15-45mm for $1,449 or a kit MIKE M. with the 18-150mm for $1,749. At the moment, no body only options, and only in black here in Canada. We are Canon and Sony Announcements! taking pre-orders for this camera and the following lenses. Canon and Sony announced a slew of new products, but a Canon RF 15-35mm f/2.8L and RF 24-70mm f/2.8L: two bit too late to allow for detailed coverage in this newsletter. new pro-level lenses for the mirrorless full-frame EOS Here are the new products in short! R system, an ultra-wide zoom and a more practical mid- Canon EOS 90D range zoom. I say more practical since Canon’s existing RF This new DSLR from 28-70mm f/2 is not only big, heavy and expensive, but has Canon is a high-end, a narrower zoom range. It is a fantastic lens, but its size, enthusiast camera weight and cost has put some people off. The new 15- boasting a new 32MP 35mm and 24-70 will both ship in September and both sensor, 10 fps shooting, are the same price at $2,999 each.
    [Show full text]
  • Bill Hurter. the Best of Professional Digital Photography. 2006
    ABOUT THE AUTHOR Bill Hurter started out in photography in 1972 in Washington, DC, where he was a news photographer. He even covered the political scene—including the Watergate hearings. After graduating with a BA in literature from American University in 1972, he completed training at the Brooks Institute of Photography in 1975. Going on to work at Petersen’s PhotoGraphic magazine, he held practically every job except art director. He has been the owner of his own creative agency, shot stock, and worked assignments (including a year or so with the L.A. Dodgers). He has been directly involved in photography for the last thirty years and has seen the revolution in technology. In 1988, Bill was awarded an honorary Masters of Science degree from the Brooks Institute. He has written more than a dozen instructional books for professional photographers and is currently the editor of Rangefinder magazine. Copyright © 2006 by Bill Hurter. All rights reserved. Front cover photograph by Yervant Zanazanian. Back cover photograph by Craig Minielly. Published by: Amherst Media, Inc. P.O. Box 586 Buffalo, N.Y. 14226 Fax: 716-874-4508 www.AmherstMedia.com Publisher: Craig Alesse Senior Editor/Production Manager: Michelle Perkins Assistant Editor: Barbara A. Lynch-Johnt ISBN: 1-58428-188-X Library of Congress Card Catalog Number: 2005937370 Printed in Korea. 10 9 8 7 6 5 4 3 2 1 No part of this publication may be reproduced, stored, or transmitted in any form or by any means, electronic, mechan- ical, photocopied, recorded or otherwise, without prior written consent from the publisher.
    [Show full text]
  • Backup of 2014 Update Backup of Lensbaby Class Lesson 1 Copy
    Lensbaby Magic Lesson 1 “When subject matter is forced to fit into preconceived patterns, there can be no freshness of vision.” -Edward Weston Welcome to my Lensbaby Magic Class! The Basics Craig Strong invented the Lensbaby when he was trying to find a different look for his images. He was looking for a way to be able to do this in-camera, instead of spending hours sitting at his computer. He wanted to combine the soft, imperfect look produced by Holga film cameras, with the convenience of digital imagery. He says that the Lensbaby he developed gave him some options to match a certain mood in a theme, or to render an image the way he envisioned it. With the trend these day being the most refined, precise, high speed automatic lenses, the Lensbaby is a refreshing Lensbaby Magic Kathleen Clemons 1 step backwards. It’s sort of an odd combination of an old, manual focus lens where you had to do it right the first time, and a modern day video game joystick. The original lens models are mounted on a plastic bellows, which allows you to manually focus by pushing, pulling and bending. A selected part of your image will be in focus, and you control just where that ‘sweet spot” of focus will be by manipulating either the bellows section (the part that looks like vacuum cleaner hose) on the Muse and the original models, or the focus ring on the Composer, which has a ball and socket type design. The remaining areas of your image are softly and gradually blurred, creating unique, eye-catching images.
    [Show full text]