Selected Photographic Techniques
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
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. -
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. -
I the Journal of \ Photographic Science
i- i The Journal of i \ Photographic Science SEP 15 1969 JULY / AUGUST 1969 • • ' !, ' • ,, , ': • I I VOLUME 17 NUMBER 4 • 0 • • • . ... CONTENTS PHOTOGRAPHY AND PHOTOGRAVURE: HISTORY OF PHOTOMECHANICAL REPRODUCTION E. OSTROFF THE RELATIONSHIP BETWEEN SPEED AND GRAIN SIZE G. C. FARNELL MICROIMAGE PHOTORESIST EVALUATION K. G. CLARK and R. G. TURNER HIGH SPEED PHOTOGRAPHIC STUDY OF LUBRICATED CONTACTS USING OPTICAL INTERFEROMETRY F. J. WESTLAKE and A. CAMERON FUTURE MEETINGS The Royal Photographic Society of Great Britain Ostroff: Photography and Photogravure 101 Photography and Photogravure: History of Photomechanical Reproduction EUGENE OSTROFF Curator of Photography, Smithsonian Institution, Washington, D.C. ABSTRACT. The first practicable photomechanical system-contact-screen photogravure-was invented in 1852 by W. H.F. Talbot of England. Many of the approaches introduced by Talbot are still used in current practice: contact cross-line "master" and "working" screens: metal plate etching through a bichromated gelatin emulsion: etching with ferric chloride solutions of different concentrations: and selective local etching for "retouching" purposes. To provide the tiny image ink-holding components in the printing plate, Talbot used fine gauze fabrics for the contact cross-line screens and fine resin particles (aquatint) applied as a powder or liquid. He also experimented with contact screens of ruled lines on paper: scored cartilage: waxed paper with scribed lines: aquatint pattern on paper and a blackened film with uniform grid of clear circular openings. INTRODUCTION By 1852, the year in which the first practicable photo- this coating was insufficient for camera exposures but ade- mechanical system was introduced, two different approaches quate for photogenic drawings (photograms) and contact had been devised-heliogravure (1826), and chemically etched printing. -
Outline for Cyanotype Masterclass (4 Hours) 9:05 – 9:15 Introduction: Of
Outline for Cyanotype Masterclass (4 hours) 9:05 – 9:15 Introduction: of myself; overview of process; how to coat paper; safety tips. 9:20 – 9:40 Darkroom Activity One: Each student to coat the following papers: 2 x A5 and 1 x A4 9:40 – 10:00 Classroom presentation: on process/techniques/creative expression with discussion of my own work and historical/contemporary examples. Covering briefly (more technical details will be provided via resources/links on my website): 1. Preparing the paper (paper selection/coating the paper/drying the paper/alternative surfaces) 2. Exposure (methods of making an image (contact print & photogram/correct exposure time) 3. Developing & drying the prints (techniques and tips) 4. Creative exemplars – historical and contemporary inspiration 10:00 – 11:00 Activity Two: Experimentation with process – students to make three to four A5 prints – aim is to understand the process, especially control of exposure and explore creative possibilities with different materials. (short break if needed – 10 minutes) 11:10 – regroup for quick discussion (5 mins) on progress so far/troubleshooting/refining ideas for final print 11:15 – 12:50 – Activity Three - produce an A4 work based what you have learned through your process experimentation 12:50 Pack up Student to bring the following materials: To make cyanotype photograms please bring a range of transparent and opaque materials and objects to place on your UV sensitive paper: Suggestions: Natural materials (plants/roots/leaves/feathers/shells); glass objects, kitchen items, fabrics/clothing; a variety of papers/plastic materials; old x-rays; string & rope, toys. Optional but highly recommended for getting the most out of this Masterclass: If you want to make cyanotype contact photo print you will need to creative a negative to bring to the class. -
Alternative Process Photography: Beyond Digital and Film Laura Michaud University of Rhode Island, Laura [email protected]
University of Rhode Island DigitalCommons@URI Senior Honors Projects Honors Program at the University of Rhode Island 2017 Alternative Process Photography: Beyond Digital and Film Laura Michaud University of Rhode Island, [email protected] Follow this and additional works at: http://digitalcommons.uri.edu/srhonorsprog Part of the Art and Design Commons, Chemistry Commons, Fine Arts Commons, History of Art, Architecture, and Archaeology Commons, Nonfiction Commons, and the Photography Commons Recommended Citation Michaud, Laura, "Alternative Process Photography: Beyond Digital and Film" (2017). Senior Honors Projects. Paper 545. http://digitalcommons.uri.edu/srhonorsprog/545http://digitalcommons.uri.edu/srhonorsprog/545 This Article is brought to you for free and open access by the Honors Program at the University of Rhode Island at DigitalCommons@URI. It has been accepted for inclusion in Senior Honors Projects by an authorized administrator of DigitalCommons@URI. For more information, please contact [email protected]. Laura Michaud THE ALT PROCESS COOKBOOK A simplified way to making beautiful non-traditional photographic prints. THE ALT PROCESS COOKBOOK Laura Michaud Special Thanks to: Zoey Stites Ron Onorato Annu Matthew Jill Enfield Laurie Sherman Steve Michaud Brian Podgurski Casey Miller Alex Murdock Porter Dolan Kim Manjuck Corey Favino Heidi Allen Anna Sherman Thank you all so much for all your help and support. Table of Contents 1. A Brief Overview of Photography…………………………….………..1 2. Making The Negative…………………………………...……....….…..5 -
Paper and Light: the Calotype in France and Great Britain, 1839-1870
Paper and Light r-.~heCalotype in Franceand GreatBritain, 183 9-18 7 0 The Museum of FineArts, Houston September24-November 21, 1982 Organized by the Museum of fine Arts , Houston, and the Art Institute of Chicago in cooperation with the Univer sity of Texas at Austin. The exhibition and its catalogue were made possible in part through a grant from the National Endowment for the Arts, Washington, D .C., a federal agency . The exhibition will be shown at the Art Institute of Chicago from December 15, 1982, to February 13, 1983. Designed by Michael Glass Design, Inc ., Chicago, Illinois The information in this brochure was drawn from Paper and Light: The Calotype in France and Great Britain , 18 39-1870 (at press). All rights reserved . No portion of this brochure may be used without permission of the Pub lications Department , the Art Institute of Chicago. A 1'6'~ [982- '1 I L-. 7- A Symposium on 17thCentury FrenchPainting Nicolas Poussin, Landscape with Saint John on Patmos, c . 1640, oil on canvas,T he Art Institute of The Art Institute of Chicago Chicago, A. A. Munger. H :E ;>;"' :E ::r P> !:!..::ro Friday, October 29, 1982 Friday, October 29 <n O Pl S 0 "' ~ .... ' < Pl and Saturday, October 30, 1982 (JQ. s ;ii :::, 6:00 Inspiration of the Poet: Reflections on Two Paintings by Nicolas 5· fE S ~ Poussin, Marc Fumaroli, Professor, The Sorbonne, Pari s. Pl :::, (1) Pl s· p.:, ~ - -<= OQ :::i < A symposium of American and European scholars to be held n ,O"'~ Saturday, October 30 8. r::r''-< ::;' in conjunction with the exhibition France in the Golden Age: 10:00 Opening Remarks (t):::, (1)p.:, I") ~ (J'J-· 17th Century French Painting in Ameri can Collections at the Art 0-::rp_. -
Darkroom Photography Priscilla Smith Taylor 008, 022
Art 281 Darkroom Photography Priscilla Smith Taylor 008, 022 2018 Spring Semester (2183) Smith,Priscilla A MW 3:35PM - 6:05PM TYG008 (3 credit hours) Explores the concepts and tools of black & white photography while studying photographic movements such as conceptual photography, portraiture, landscape, social documentary, and the manipulated image. Includes analog camera, flash, and darkroom techniques. Class meets in TYG008 – Lab. TYG022 - Lecture Description This course is designed for the student with no background in photography. You will learn everything you need to know to correctly expose, and process black and white film and print & present black and white photographs. You will learn about varieties of light, exposures, films, papers, and some simple print manipulation techniques. Beyond the basic technical material, the use of photography to make personal, meaningful statements or explorations and practice in the verbalization of those is an integral part of this course and a significant aspect of your success in this study. Participation: This course is a sequential experience. Projects are organized in sequences of lectures, demonstrations and hands-on exercises that build on the one before. Each of the graded projects is presented as a thought experiment for you to solve using the given technical and conceptual skills. Projects end with a critique of your best solutions. Prepare for it with a thoughtful description of your intentions, discoveries and results, good and not so good. Late work can’t be discussed because it’s not there. Incomplete work is better than no work, so put any work you’ve done up for review and discussion. -
Photographic Printing Enlarger
Photographic printing From Wikipedia, the free encyclopedia Photographic printing is the process of producing a final image on paper for viewing, using chemically sensitized paper. The paper is exposed to a photographic negative, a positive transparency (or slide), or a digital image file projected using an enlarger or digital exposure unit such as a LightJet printer. Alternatively, the negative or transparency may be placed atop the paper and directly exposed, creating a contact print. Photographs are more commonly printed on plain paper, for example by a color printer, but this is not considered "photographic printing". Following exposure, the paper is processed to reveal and make permanent the latent image. Printing on black-and-white paper The process consists of four major steps, performed in a photographic darkroom or within an automated photo printing machine. These steps are: Exposure of the image onto the sensitized paper using a contact printer or enlarger; Processing of the latent image using the following chemical process: o Development of the exposed image reduces the silver halide in the latent image to metallic silver; o Stopping development by neutralising, diluting or removing the developing chemicals; o Fixing the image by dissolving undeveloped silver halide from the light-sensitive emulsion: o Washing thoroughly to remove processing chemicals protects the finished print from fading and deterioration. Optionally, after fixing, the print is treated with a hypo clearing agent to ensure complete removal of the fixer, which would otherwise compromise the long term stability of the image. Prints can be chemically toned or hand coloured after processing.[ Enlarger From Wikipedia, the free encyclopedia An enlarger is a specialized transparency projector used to produce photographic prints from film or glass negatives using the gelatin silver process, or from transparencies. -
Camera Hounds COLLECTION OREGON COLLECTION a 4-H Photography Project
371.42 r3lcc STATE LIA] o.l M3 rev. 1959,?&y. JUN 221959 c .3 DOCUMENT Camera Hounds COLLECTION OREGON COLLECTION A 4-H Photography Project To help you learn to fake better pictures and to learn to develop, print, and enlarge them . FEDERAL COOPERATIVE EXTENSION SERVICE OREGON STATE COLLEGE CORVALLIS Cooperative Extension work in Agriculture and Home Economics, F. E. Price, director. Oregon State College, the United States Department of Agriculture, and the State Department of EducationCo. operating. Printed and distributed in furtherance of the Acts of Congress of May 8 and June 30, 1914. Club Series Cl Revised May 1959 4-H Camera Hounds Photography Project S You have successfully completed the Now, as a i-i--H CAMERA HOUT1D, you will SHUTTERBUG 4--H photography project. Now explore the world of photography beyond you are ready for new experiences as you the limits of your own camera. You will enroll as a 4--H CAMERA HOUTD. learn: So far, you have had your negatives 1. To develop your own film. and prints processed by someone else. 2. To contact print your own pictures. You've learned much about your camera, 3. To enlarge your better pictures what it will and will not do, and you've (optional). learned how to tell a good photograph 1-. More about photography as a science from a poor one. and an art. Materials Needed 1. Your camera. Photography has that are at least 5 by 7 inches in size. become a hobby for you. You need a Caution: The containers should be used camera of your own. -
THE PHOTOGRAPHIC EYE Learning to See with a Camera
REVISED EDITION THE PHOTOGRAPHIC EYE Learning to See with a Camera Michael F. O'Brien & Norman Sibley THE PHOTOGRAPHIC EYE Learning to See with a Camera Michael E O'Brien & Norman Sibley Davis Publications, Inc., Worcester, Massachusetts Copyright 1995 Davis Publications, Inc. Worcester, Massachusetts U.S.A. To the photography students of Seoul American High School, past, present and future. No part of this work may be repro- duced or transmitted in any form or by any means, electronic or mechan- ical, including photocopying and re- cording, or by any information storage or retrieval system without the prior written permission of the copyright owner, unless such copy- ing is expressly permitted by federal copyright law. Davis is not autho- rized to grant permission for further uses of copyrighted selections or im- ages reprinted in this text without the permission of their owners. Permis- sion must be obtained from the indi- vidual copyright owners as identified herein. Address requests for permis- sion to make copies of Davis mate- rial to Permissions, Davis Publi- cations, Inc., 50 Portland Street, Worcester, MA 01608. Editor: Claire Mowbray Golding Design: Greta D. Sibley Printed in the United States of America Library of Congress Catalog Card Student photograph by Gregory Conrad. Number: 93-74644 ISBN: 0-87192-283-5 1098 765 Cover: Student photograph by Leah Gendler. 4 The Photographic Eye Contents 7 Introduction Part 1 Getting Started 11 Chapter 1 From Blurs to Big Business History • Photographic Careers Part 2 Elements of Composition 35 Chapter 2 Tools Manual or Automatic? • The Camera, Inside & Out • Exercises: Testing the Shutter & Aperture • Loading Film 51 Chapter 3 What is Composition? Snapshots vs. -
The Essential Reference Guide for Filmmakers
THE ESSENTIAL REFERENCE GUIDE FOR FILMMAKERS IDEAS AND TECHNOLOGY IDEAS AND TECHNOLOGY AN INTRODUCTION TO THE ESSENTIAL REFERENCE GUIDE FOR FILMMAKERS Good films—those that e1ectively communicate the desired message—are the result of an almost magical blend of ideas and technological ingredients. And with an understanding of the tools and techniques available to the filmmaker, you can truly realize your vision. The “idea” ingredient is well documented, for beginner and professional alike. Books covering virtually all aspects of the aesthetics and mechanics of filmmaking abound—how to choose an appropriate film style, the importance of sound, how to write an e1ective film script, the basic elements of visual continuity, etc. Although equally important, becoming fluent with the technological aspects of filmmaking can be intimidating. With that in mind, we have produced this book, The Essential Reference Guide for Filmmakers. In it you will find technical information—about light meters, cameras, light, film selection, postproduction, and workflows—in an easy-to-read- and-apply format. Ours is a business that’s more than 100 years old, and from the beginning, Kodak has recognized that cinema is a form of artistic expression. Today’s cinematographers have at their disposal a variety of tools to assist them in manipulating and fine-tuning their images. And with all the changes taking place in film, digital, and hybrid technologies, you are involved with the entertainment industry at one of its most dynamic times. As you enter the exciting world of cinematography, remember that Kodak is an absolute treasure trove of information, and we are here to assist you in your journey. -
The First 22 Pages of Blueprint to Cyanotypes
Blueprint to cyanotypes Exploring a historical alternative photographic process Malin Fabbri and Gary Fabbri Published by Malin Fabbri, AlternativePhotography.com Blueprint to cyanotypes - Exploring a historical alternative photographic process © 2006 First published 2006. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher. Cover design and photography by Malin Fabbri. Printed on demand by Lulu. Published by Malin Fabbri, AlternativePhotography.com Vikingagatan 45, 113 42 Stockholm, Sweden Copyright © 2006, Malin Fabbri, AlternativePhotography.com. ISBN: 978-1-4116-9838-3 For further information go to: http://www.AlternativePhotography.com/BlueprintToCyanotypes.html Blueprint to cyanotypes - Exploring a historical alternative photographic process © 2006 Contents About the authors 4 Introduction.............................................................................................. 6 Cyanotype.history........................................................................................7 The.cyanotype............................................................................................ 9 Making.a.print.......................................................................................... 12 The formula 13 Preparing the canvas: cloth, paper and natural fibre fabrics........................... 14 Three different coating