DOCSLIB.ORG

Nikon D3200 for Dummies

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Nikon D3200 for Dummies Index reducing, 216 • Symbols and setting, 222, 227–230. See also Numerics • A (aperture-priority autoexposure) mode; M (manual exposure) mode; ? (question mark) P (programmed autoexposure) mode blinking, 37, 59, 247 shooting wide open, 222 camera icon, 36 stopping down, 216 3D Tracking mode, 264 aperture (f-stop), settings 8-bit TIFF fi les, 194 depth of fi eld, adjusting, 274–275 16-bit TIFF fi les, 194 effect on focus, 85 recording movies, 124 • A • aperture priority. See A (aperture-priority autoexposure) mode; P (programmed A (aperture-priority autoexposure) mode autoexposure) mode depth of fi eld, adjusting, 279 aperture ring, 9 description, 49 Apple Aperture, 175 determining exposure, 223, 229 Apple iPhoto, 173 exposure metering, 226 artifacting, 69 Active D-Lighting, 241–244, 347 aspect ratio Adobe Photoshop, 174–176 cropping pictures, 330 Advanced Shooting options, 82 printing pictures, 197–199 AE (autoexposure) lock, 240–241 attaching AE-L/AF-L button, customizing, 43, 347–348 fl ash, 56 AE-L/AF-L/Protect button, 20–21 lenses, 8–10 AF (autofocusing) assist lamp, 24 audio recording, 120–125 AF-A (auto-servo autofocus) mode, Auto Area mode, 264 78–80, 268 Auto Distortion Control, 82 AF-Area mode, 80, 108–109, 111–113, Auto Flash Off mode, 48, 82–86 263–267. See also autofocus system Auto image rotation option, 40 AF-C (continuous-servo autofocus) Auto information display option, 38–39 mode, 268 COPYRIGHTEDAuto ISOMATERIAL Sensitivity Control, 232 AF-F mode, 111–113 Auto mode, 48, 57–58, 60, 82–86 AF-S lenses, 8, 10–12 Auto off timers option, 40–41 AF-S mode, 111–113, 268 autoexposure A/M (Auto/Manual) focus switch, 11, 23 in Flash mode, 60–61 annotations, adding to pictures, 40, locking, 20–21, 124, 348–349 341–343 recording movies, 124 anti-shake. See Vibration Reduction autoexposure (AE) lock, 240–241 Aperture (Apple), 175 autofocus. See also Focus mode aperture (f-stop). See also f-stop and exposure modes, 50 depth of fi eld, 216–217 failure to lock on subject, 270–273 overview, 214–215 in Live View, 111–113 119_9781118446836-bindex.indd9_9781118446836-bindex.indd 365365 77/12/12/12/12 77:51:51 PMPM 366 Nikon D3200 For Dummies autofocus (continued) blown highlights, 152–153 locking, 20–21, 105–107, 269–270 blurring the background, 279. See also MF (manual focus), 270–273 depth of fi eld point-and-shoot options, 78–80 blurry photos. See also Vibration rangefi nder, 272 Reduction Scene modes, 86–87 reducing blur, 93 shutter button interaction, 51 shutter speed, 262–263 troubleshooting, 85–86 bouncing fl ash, 306 autofocus system. See also AF-Area mode bright lights, safety tips, 101 for moving subjects, 261–262, 268, 269 brightening photographs, 93 overview, 260–262 brightness, camera monitor, 37–38 for stationary subjects, 261–262, 268, 269 brightness, photographs. See exposure autofocusing (AF) assist lamp, 24 Brightness histograms, 154 Auto/Manual (A/M) focus switch, 11, 23 bulb exposure, 214, 312, 314 automatic exposure modes. See buttons. See camera controls; specifi c A (aperture-priority autoexposure) buttons mode; P (programmed autoexposure) Buttons option, 43 mode; S (shutter-priority autoexposure) mode • C • automatic picture taking. See point-and- shoot calendar playback, 127 automatic shutoff, 40–41, 100–101 calendar view, playing pictures and auto-servo autofocus (AF-A) mode, movies, 144–145 78–80, 268 camera controls. See also menus; specifi c controls • B • back-of-the-body, 20–22 Cheat Sheet, 3 backgrounds, softening, 92 front-left, 23–24 backing up fi les. See protecting pictures front-right, 24 barrel distortion, 273, 326–327 quick reference guide, 3 battery life topside, 18–20 displaying, 27, 34 camera orientation, recording, 40 fl ash, 58 camera override, recording movies, 124 internal clock, 40 Camera Raw. See Raw (NEF) fi le format Live View tips, 102 camera settings. See settings; specifi c Beep option, 42 settings beeping camera shake, 102 self-timer, 54 camera-to-subject distance, 275 turning on and off, 42 Capture NX 2 (Nikon), 175 bit, defi nition, 194 center-weighted exposure metering, bit rate, setting, 117–120 234–236 black-and-white. See monochrome Cheat Sheet for camera controls, 3 blinking Child mode, 57, 88 ? (question mark), 37, 59, 247 city pictures, nighttime, 312 [-E-] (blinking viewfi nder symbol), 16 Clean image sensor option, 39 exposure meter, 85, 225 cleaning your camera “ISO-A” message, 232 automatic, 39, 76 blobs, 76 with compressed air, camera damage, 76 119_9781118446836-bindex.indd9_9781118446836-bindex.indd 366366 77/12/12/12/12 77:51:51 PMPM Index 367 dust-removal fi lter reference image, customizing your camera. See settings; specifying, 40 specifi c settings locking up the mirror, 39 cyanotype photographs, 338–340 clipped highlights, 152–153 Close Up mode, 57, 60, 89 • D • close-ups. See also macro lenses diopters, 315 darkening photographs, 93 macro lenses, 8 date and time overview, 314–315 adding to pictures, 43 color. See also white balance picture data, viewing, 151 adjustment fi lters, 333–335 setting, 40 desaturating, 354–356 synchronizing camera and computer, 185 with fl ash, 248 Delayed mode, 81 gamut, 291–292 Delayed Remote setting, 55–56 ICC color profi le, embedding in Delete button, 22 downloaded pictures, 185 deleting pictures. See also protecting outline effects, 352–353 pictures printing pictures, 201 from menus, 27 sketch effects, 353–354 originals fi les after download, 186 synchronizing printer and monitor, protecting against, 20 200–202 deleting pictures, from memory cards temperature, 281 all at once, 160 Color Balance fi lter, 335–338 by date, 162–163 color cast, 62–63 vs. formatting, 170 Color Outline fi lter, 352–353 one at a time, 159–160 Color Sketch fi lter, 353–354 protected pictures, 163 color space, 291–292 in selected batches, 161–162 Color Space settings, 82 depth of fi eld combining photographs, 360–363 aperture settings, 216–217 Command dial, 20–21 exposure settings, 216–217 comments, adding to pictures, 40, 341–343 point-and-shoot options, 85 compressed air, camera damage, 76 depth of fi eld, adjusting computers, connecting camera to, 25 aperture settings (f-stops), 274–275 continuous shooting, 52, 81 blurring the background, 279 continuous-servo autofocus (AF-C) camera-to-subject distance, 275 mode, 268 examples, 276–277 convergence effect, 328–329 Guide mode, 90–95, 279 cool light, 281 lens focal length, 275 correcting colors. See white balance minimum/maximum, 278–279 crop factor, lenses, 280 A (aperture-priority autoexposure) mode, crop sizes, 330 279 cropping pictures, 66, 199, 329–331. See Scene modes, 279 also trimming movies zooming in and out, 278–279 Cross Screen fi lter, 349–351 desaturating color, 354–356 CSC_ fi lenames, 151 dials. See camera controls; specifi c dials custom folders, creating, 44, 343–345 Digital Print Order Format (DPOF), 202 119_9781118446836-bindex.indd9_9781118446836-bindex.indd 367367 77/12/12/12/12 77:51:51 PMPM 368 Nikon D3200 For Dummies Digital Railroad, 209 fully automatic, 48 diopters, 315 guided, 49 dirt on lens or sensor, problem diagnosis, manual, 49 62–63 and manual focusing, 50 distance from camera to subject. See focal point-and-shoot options, 78–82 plane indicator selecting, 48–50 Distortion Control fi lter, 326–327 semi-automatic, 49 D-Lighting fi lter, 331–334. See also Active exposure settings, side effects, D-Lighting 216–219, 221 double exposures, 360–363 exposure value (EV), 236 downloading pictures to a computer, eXtended Capacity (SDXC) memory 176–186 cards, 15 dpi vs. ppi, 196 Eye-Fi SD memory cards, 15 DPOF (Digital Print Order Format), 202 Eye-Fi upload option, 44 DSC_ fi lenames, 151 _DSC fi lenames, 151 • F • dust protection, 10 dust-removal fi lter, 40 Face Detection feature, 148 DVDs, storage guidelines, 209 Face Priority, 108, 111 Dynamic Area mode, 263–264 File Information mode, 149, 150–152 fi le number sequence, resetting, 45 • E • File number sequence option, 42–43 fi le numbering, 151 [-E-] (blinking viewfi nder symbol), 16 fi le protection status, viewing, 152 early morning photography, 313 fi le size editing movies, 129–132 factors effecting, 75 8-bit TIFF fi les, 194 JPEG fi le format, 68 electronic interference, external lights, 102 fi lenames Elements (Adobe), 174–175 naming conventions, 150–151 e-mailing pictures, 203–208 renaming converted Raw fi les, 195 erasing memory cards, 16 renaming during downloading, 184 erasing pictures. See deleting pictures viewing, 150–151 EV (exposure value), 236 Fill Flash, 248–249 exposure. See also brightness fi lters (digital) bracketing, 313 color adjustment, 333–335 factors affecting, 215–216, 221–222. See Color Balance, 335–338 also aperture; ISO; shutter speed Color Outline, 352–353 picture data, viewing, 157–159 Color Sketch, 353–354 recording movies, 123–124 Cross Screen, 349–351 exposure compensation, 124, 190, 236–244 Distortion Control, 326–327 Exposure Compensation button, 18–19, D-Lighting, 331–334 237–238 dust-removal, 40 exposure meter, 40–41, 85, 224–227 Fisheye, 326–327 exposure metering mode, 225–236 Miniature Effect, 358–359 exposure modes neutral density, 312 and autofocusing, 50 Perspective Control, 328 displaying, 27 Quick Retouch, 333–335 119_9781118446836-bindex.indd9_9781118446836-bindex.indd 368368 77/12/12/12/12 77:51:51 PMPM Index 369 Red-Eye Correction, 322–324 quick reference, 59 Retouch menu, 320–322 Rear-Curtain Sync, 252–253 Selective Color, 354–356 Red-Eye Reduction, 249–250, 253 Skylight, 335–337 setting, 60–61, 245–246 Soften, 356–358 slow-sync, 250–252, 253, 305 starburst effect, 349–351 fl icker reduction, 39–40, 102 Straighten, 324–325 Flicker reduction option, 39–40 Warm, 335–337 Fn (Function) button, 23, 43, 75, 346–347 fi reworks, 313 focal length, lenses, 280 fi rmware versions, displaying, 44 focal length indicator, 11 Firmware Versions option, 44 focal plane indicator, 19–20 Fisheye fi lter, 326–327 focus fl ash locking, 348–349 bouncing, 306 point-and-shoot options, 78, 80, 85 diffusing, 307 recording movies, 124 external, 56, 306 sharpening, 292 outdoor lighting, 315 softening, 356–358 still portraits, 304–307 Focus mode, 10–12, 78–80.
Load more

Recommended publications
  • Specifications for Aerial Photography Database Files (PDF)
    Ministry of Agriculture and Lands Integrated Land Management Bureau Crown Registry and Geographic Base Branch Specifications for Aerial Photography Database Files Edition April, 2008 Victoria BC Canadian Cataloguing in Publication Data Crown Registry and Geographic Base Branch. Specifications for aerial photography database files [computer file] Previously published in print: British Columbia. Surveys and Resource Mapping Branch, 1994. Available on the Internet. Issued also in printed format on demand. ISBN 0-7726-4321-0 1. Aerial photographs - Databases - Handbooks, manuals, etc. 2. British Columbia - Aerial photographs - Databases - Handbooks, manuals, etc. I. Title. TR810.G464 2000 778.35 C00-960263-1 Printed copy of this document is uncontrolled. For latest version see Specifications for Aerial Photography Database Files posted at http://ilmbwww.gov.bc.ca/bmgs/airphoto/specs/ ________________________________________________________________________________________________ Owner: APLS/CRGB/MAL Title: Specifications for Aerial Photography Database Files Version No.: 1.4 Issue Date: April, 2008 Reviewed Date: April, 2008 Doc. No.: ARCS/ORCS: 10030-06-004 1 Record of Amendments Revision Page Revision made by Revision Description Approved by Signature Date No. # 1 Alan Spring, APLS 15 Section 3.2.3 Updated to Ron Johnson, PDF signed by Ron March 10, include additional film Manager, APLS Johnson 2005 emulsion codes 2 Alan Spring, APLS Ministry name change Ron Johnson, PDF signed by Ron July 8th, Manager, APLS Johnson 2005 3 Jim Hogg, APLS Document updated for Digital 2006 Camera photography 4 Alan Spring, APLS 16 Section 3.2.3 Updated to March 28, include digital codes 2007 5 Alan Spring Branch name change Andy Calarco, PDF signed by Andy April, 2008 Manager APDI Calarco Printed copy of this document is uncontrolled.
    [Show full text]
  • Meeting Minutes, Social Media Report Working Fires- Members Pictures
    March 2019 Issue 3 Volume 6 An International Fire Buff Associates Region 1 Club 03/03/19 Southington Multiple alarm fire in a commercial building Mike Quinn Inside this issue: Meeting Minutes, social media report 2-5 Working Fires- Members Pictures 6-56 The Apparatus Bay 57 Smartphone, Photography and Technology Section The Organization, Members at Work 58-60 Member Spotlight 61-62 Members Websites 64-65 1 March Green means UP/Improvement, Red means DOWN/Loss, Yellow New Stat --Website Stats-- - Total March Website Views: 231,207 Views. Up 107,300 from last month! - Busiest March Day: 2/23/19 with 23,579 views. - Highest Viewed Website Album in March: 4 Alarm Fire in Yonkers by Dave Kempter with 37,126 views. - Second Highest Website Viewed Album in March: Barnhart Ave Sleepy Hollow Fire by Dave Kempter with 13,706 views. - Third Highest Viewed Website Album in March: Lent Ave Montrose Fire by Dave Kempter with 12,919 views. Note: Congrats to new member Dave Kempter who dominated the website in March having all of the top three galleries including getting over 63,000 views over the three galleries! Note: Website was up big time this month, however many members are still not using the site. PLEASE if you go to a fire or a station or an apparatus shoot even just upload one or two shots and provide a link to your website. Our members make our website succeed or fail. It takes about three minutes to post a gallery. --Instagram-- -Total March Instagram Followers: 9,368 followers.
    [Show full text]
  • ADVANCE and Artistic Practice
    Point and Shoot: Originality, Authorship, and the Identification of the Copyright Work in Modern Photography Jani McCutcheon Abstract This article explores how profound technological developments in photography have problematised concepts of the photograph, authorship, and originality in Australian copyright law. These developments have resulted in highly automated photography and ubiquitous photographs, inviting questions about what constitutes a ‘photograph’ as defined in the Australian Copyright Act 1968 (Cth) (‘Copyright Act’), when a photograph is sufficiently original, and how the definition of the ‘author’ of a photograph as the person who ‘took’ it should be interpreted. The article is the first to analyse these issues, ameliorating the relative dearth of serious scholarly investigation of the contemporary photograph under Australian copyright law and a paucity of judicial attention. It considers the meaning of ‘photograph’ and ‘photography’ under the Copyright Act and explains how software and new practices in a ‘post-photography’ world challenge those concepts. It then explores photographic originality and investigates how increasingly automated modes of photography diminish, if not eviscerate, originality in contemporary photography. The article then focuses on photographic authorship, interrogating the statutory definition of the author of a photograph as ‘the person who took it’. The article also proposes further research into ways of better aligning copyright law with contemporary photographic technological developmentsADVANCE and artistic practice. Please cite this article as: Jani McCutcheon, ‘Point and Shoot: Originality, Authorship, and the Identification of the Copyright Work in Modern Photography’ (2021) 43(2) Sydney Law Review 163 (advance). This work is licensed under a Creative Commons Attribution- NoDerivatives 4.0 International Licence (CC BY-ND 4.0).
    [Show full text]
  • Fire-And-Ice-1984
    Peter Wollen than as a scientific or instructional instrument. going talk about 'aspect' rather than 'tense'. (Here I must Fire and lce//1984 First, I am to acknowledge my dependence on and debt to Bernard Comrie's book on Aspect', the standard work on the subject). Aspect, on one level, is concerned with duration but this, in itsell is inadequate to explain its functioning. We need The aesthetic discussion of photography is dominated by the concept of time. semantic categories which distinguish different types of situation, in relation to Photographs appear as devices for stopping time and preserving fragments of change (or potential for change) and perspective as well as duration. Comrie the past, like flies in amber. Nowhere, of course, is this trend more evident than distinguishes between states, processes and events. Events themselves can be when still photography is compared with film. The natural, familiar metaphor is broken down between durative and punctual events. Alongside these categories that photography is like a point, film like a line. Zeno's paradox: the illusion of aspect also involves the concepts of the iterative, the habitual and the movement. characteristic. It is the interlocking of these underlying semantic categories The lover of photography is fascinated both by the instant and by the past. which determines the various aspectual forms taken by verbs in different The moment captured in the image is of near-zero duration and located in an languages (grosso modo). ever-receding 'then'. At the same time, the spectator's 'now', the moment of It is useful to approach photography in the light of these categories.
    [Show full text]
  • Fire Investigation Photography Course Syllabus (16 Hours)
    Fire Investigation Photography Course Syllabus (16 Hours) Course Target Audience Firefighters, fire/arson investigators, death investigators, crime scene investigators, police officers and detectives with beginner to intermediate skills in photography. Course Objectives Increase understanding of optics, light and camera functions. Increase understanding of how to manipulate a camera to take proper investigative photos. Increase experience composing forensic photographs. Properly compose and capture crime scene, subject, evidence, collision & search warrant photos. Required Equipment Any camera equipment normally carried for investigations. Tripod Flashlight 1 Course Schedule Day one. (8 hours) Module 1 – Optics & Camera Basics • Sources of light • How cameras capture light. • Camera capabilities & limitations • Parts of the camera • Settings, buttons & adjustments • Camera terms • Camera modes • Proper focus • Desired exposure Practical Exercise 1 - Making camera adjustments Module 2 - Introduction to the Exposure Triangle • Shutter speed, aperture & ISO • Effects of shutter speed, aperture & ISO • Adjusting shutter speed, aperture & ISO • Evaluating exposure. Practical Exercise 2 – Adjusting shutter speed, aperture & ISO for desired photos. Module 3 – Principles of Forensic Photography • Proper documentation • Use of scale • Proper perspectives • Use in criminal investigations • Court considerations Practical Exercise 3 – Scales and perspective Practical Exercise 4 – Over all, mid-range and close up photos Day one written quiz* 2 Day
    [Show full text]
  • ED226226.Pdf
    DOCUMENT RESUME ED 226 226 CE 035 155 TITLE Investigative Photography, 16-1. Military Curriculum Materials for Vocational and Technical Education. INSTITUTION Army Military Police School, Fort McClellan, AL.; Ohio State Univ., Columbus. National Center for, Research in Vocational Education. / , $1,ONS AGENCY Office of Education (DREW), Washington, D.C. I PUB DATE Mar 75 NOTE' 243p. PpB TYPE Guides - Classroom Use Materials (For Learner) (051) EDRS PRICE MF01/PC10 Plus Postage. DESCRIPTORS Color; *Equipment Utilization; Investigations; *Light; Military Personnel; Military Training; Optics; *Photochemical Reactions; *Photographic, Equipment; *Photography; Postsecondary Education; Secondary Education; *Technical Education IDENTIFIERS *Crime Detection; *Investigative Photography; Military Curriculum Project ABSTRACT This military-developed text consists of nine lessons dealing with investigative photography. Covered in the individual lessons are the following topi,ps: light (light as the basis of photography, the behavior of light, the composition of white light, light transmission, reflection and absorption, illumination, and pinholes and light); camera lenses and optics (types of lenses, lens defects, lens focal length, aperture setting and light control, lens angles, image size, the circle of confusion, and lens focusing characteristics); cameras; films (black and white films, color film, diffusion transfer reversal system materials, an, film,selection); principles of exposure (basic outdoor exposure, interchanging the stop and shutter speed, light meters, exposure withartificial light, filter effects, filter types, and film factors); photographic chemistry and processing (film development, negative developing solutions, the effects of developer aid negative density, developer life, processing the negative, negative processing problems, printing paper and printing, and processing theprint); copy and small object photography (photographing.small objects and fingerprints); and crime scene photography (photographing crime scenesand articles of levidence).
    [Show full text]
  • Genitive: Phōtós) Light, and Gráphein, to Write
    History of photography The word photography derives from the Greek words phōs (genitive: phōtós) light, and gráphein, to write. The word was coined by Sir John Herschel in 1839. A camera obscura box used for drawing images Photography is the result of combining several different technical discoveries. Long before the first photographs were made, Chinese philosopher Mo Ti and Greek mathematicians Aristotle and Euclid described a pinhole camera in the 5th and 4th centuries BC.[1][2] In the 6th century CE, Byzantine mathematician Anthemius of Tralles used a type of camera obscura in his experiments[3] Ibn al-Haytham (Alhazen) (965±1040) studied the camera obscura and pinhole camera,[2][4] Albertus Magnus (1193/1206-1280) discovered silver nitrate, and Georges Fabricius (1516±1571) discovered silver chloride. Daniel Barbaro described a diaphragm in 1568. Wilhelm Homberg described how light darkened some chemicals (photochemical effect) in 1694. The novel Giphantie (by the French Tiphaigne de la Roche, 1729±1774) described what can be interpreted as photography. Early History: Development of chemical photography [edit] Monochrome process Nicéphore Niépce's earliest surviving photograph of a scene from nature, circa 1826, "View from the Window at Le Gras," Saint-Loup-de-Varennes (France). "Boulevard du Temple", taken by Louis Daguerre in late 1838 or early 1839, was the first-ever photograph of a person. It is an image of a busy street, but because exposure time was over ten minutes, the city traffic was moving too much to appear. The exception is a man in the bottom left corner, who stood still getting his boots polished long enough to show up in the picture.
    [Show full text]
  • Laszloandrew-2000-Everyframearembrandt.Pdf
    EVERY FRAME A REMBRANDT ART AND PRACTICE OF CINEMATOGRAPHY Andrew Laszlo, A.S.C. with additional material by Andrew Quicke Focal Press An Imprint of Elsevier Boston Oxford Auckland Johannesburg Melbourne New Delhi Focal Press is an imprint of Elsevier Copyright © 2000 Butterworth-Heinemann (Si A member of the Reed Elsevier group All rights reserved. All trademarks found herein are property of their respective owners. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photo­ copying, recording, or otherwise, without the prior written permission of the publisher. Permissions may be sought directly from Elsevier's Science and Technology Rights Department in Oxford, UK. Phone: (44) 1865 843830, Fax: (44) 1865 853333, e-mail: [email protected]. You may also complete your request on-line via the Elsevier homepage: http://www.elsevier.com by selecting "Customer Support" and then "Obtaining Permissions". 0 Recognizing the importance of preserving what has been written, Elsevier prints its books on acid-free paper whenever possible. GLOBAL E*sev*er suPPorts me efforts of American Forests and the Global ReLeaf REPEAT program in its campaign for the betterment of trees, forests, and our environment. Library of Congress Cataloging-in-Publication Data Laszlo, Andrew, 1926- Every frame a Rembrandt: art and practice of cinematography / Andrew Laszlo, with Andrew Quicke. p. cm. ISBN-13: 978-0-240-80399-9 ISBN-10: 0-240-80399-X (pbk. : alk. paper) 1. Cinematography. I. Quicke, Andrew. II. Title. TR850.L38 2000 778.5—dc21 ISBN-13: 978-0-240-80399-9 99-058083 ISBN-10: 0-240-80399-X British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library.
    [Show full text]
  • Applied Police and Fire Photography
    APPLIED POLICE AND FIRE PHOTOGRAPHY APPLIED POLICE AND FIRE PHOTOGRAPHY Second Edition BY RAYMOND P. SILJANDER Former Police Officer Loss Control Specialist and DARIN D. FREDRICKSON Police Officer Phoenix Police Department Phoenix, Arizona With Forewords by John D. Douthit Me1 Hardy and Dennis A. Garrett CHARLES C THOMAS PUBLISHER, LTD. Springfield Illinois U.S.A. Published and Distributed Thmughout the World by CHARLES C THOMAS PUBLISHER, 1,TD. 2600 South First Street Springfield, Illinois 62794-9265 This book is protected by copyright. No part of it may be reproduced in any manner without written permission from the publisher. 0 1997 by CHARLES C THOMAS PUBLISHER, LTD. ISBN 0-398-06687-6 Library of Congress Catalog Card Number: 96-36244 First Edition, 1976 Second Edition. 1997 With THOMAS BOOKS carefilattention isgiven to alldetails of manufacturing anddesip. It is the Publisher? desire topresent books that are satisfactory as to their physical qualities and artistic possibilities and appropnkte for their particular use. THOMAS BOOKS will be true to those laws of quality that assure a good name andgood will. Printed in the United States of America SC-R-3 Library of Congress Cataloging-in-Publication Data Siljander, Raymond P. Applied police and fire photography / by Raymond P. Siljander and Darin D. Fredrickson ; with forewords by John D. Douthit, Mel Hardy, and Dennis A. Garrett. - 2nd ed. p. cm. Includes bibliographical references and index. ISBN 0-398-06687-6 (cloth : alk. paper) 1. Legal photography. 2. Criminal investigation. 3. Fire investigation. I. Fredrickson, Darin D. 11. Title. TR822.S53 1997 363.2'5 -dc20 96-36244 CIP This book is dedicated to the many police officers and firemen who have so diligently sewed their fellowman.
    [Show full text]
  • Fire Tour Promo
    THE PRICHARD ART GALLERY presents the first thorough exhibition of Kari Greer’s photographs. Greer’s images usually serve as supplements to words and reports; this project provides the space for their full appreciation. Due to increased wildfire activity our summer skies progress from azure blue through hazy tones, achieving a true sense of brown. In 2015, 10.1 million acres burned in the U.S. The increasing length and severity of fire seasons makes this project timely and important. Scientists comprehend what it means to live in a fire environment, including when to suppress, contain or let fires burn. The goal of this project is to help propel greater public conversation and understanding of this volatile dynamic. KARI GREER is a photographer with the National Interagency Fire Center based in Boise, Idaho. Kari specializes in wildland fire photography and editorial photojournalism. Her interest in wildland fire photography was sparked during her college years, working on a Forest Service fire crew on the Gifford-Pinchot National Forest in Washington. Her work has appeared in numerous publications including Outside Magazine, National Geographic Adventure, Wildland Firefighter and The New York Times. She has an online video interview in Yahoo Studios for The Weekly Flickr as well as on CNN. Kari studied photography at California State University, Sacramento and spent time in a workshop with Mary Ellen Mark, collaborating with Icelandic photographer Erla Stefánsdóttir and National Geographic photographer Brooks Walker. Essayist STEPHEN PYNE is a Regents professor at Arizona State University and the author of 30 books, 21 of them dealing with fire.
    [Show full text]
  • Toward Integrated Research, Land a 13.151/5:RMRS-P-10 .Z-=A Department Of
    This file was created by scanning the printed publication. Errors identified by the software have been corrected; however, some errors may remain. USDA U nited States Toward Integrated Research, Land A 13.151/5:RMRS-P-10 .z-=a Department of USDA United States Agriculture Agriculture Forest Service Management, and Ecosystem Forest Service Rocky Mountain Rocky Mountain Research Station Research Station Proceedings Protection in the Malpai Borderlands: RMRS-P-10 Proceedings |une1999 RMRS-P-10 Toward Integrated Research, Land june 1999 Conference Summary Management, and Ecosystem Protection in the Malpai Borderlands: Conference Summary to*/"*) January 6-8, 1999 KM U. -1- i) -• , . - ' Douglas, Arizona .„- , t ""'-'•--'.«-t* ' '' ' •, * --•'*. ,.' --*,. * t.- : w. - Illu^- January 6-8, 1999 Douglas, Arizona -:>>4«^ -k :^;; -.^>^ '.m Gottfried, Gerald J.; Eskew, Lane G.; Curtin, Charles G.; and Edminster, Carleton B., compilers. 1999. Toward integrated research, land management, and ecosystem protection in the Malpai Borderlands: Conference summary; 6-8 January 1999; Douglas, AZ. Proceedings RMRS-P-10. Fort Collins, CO: U.S. Department of Agriculture, Forest Service, Rocky Mountain Research Station. 136 p. Abstract Land management based on sound science is key to increased productivity and bio­ logical diversity along the U.S./Mexico border in southeastern Arizona and south­ western New Mexico. The USDA Forest Service's Rocky Mountain Research Station and the non-government Malpai Borderlands Group have sponsored studies andre­ source inventories in the region. A meeting in Douglas, Arizona, was held to inform the scientific, land management, and local communities of progress. These proceed­ ings contain abstracts from the presentations.
    [Show full text]
  • Everyday Photography? Politicizing a 'Vernacular' Photo Album of the San
    Interfaces Image Texte Language 44 | 2020 Les manières de faire vernaculaires Everyday Photography? Politicizing a ‘vernacular’ photo album of the San Francisco Earthquake and Fire of 1906 Carolin Görgen Electronic version URL: http://journals.openedition.org/interfaces/1458 DOI: 10.4000/interfaces.1458 ISSN: 2647-6754 Publisher: Université de Bourgogne, Université de Paris, College of the Holy Cross Printed version Date of publication: 15 December 2020 Number of pages: 29-51 ISSN: 1164-6225 Electronic reference Carolin Görgen, « Everyday Photography? Politicizing a ‘vernacular’ photo album of the San Francisco Earthquake and Fire of 1906 », Interfaces [Online], 44 | 2020, Online since 15 December 2020, connection on 21 December 2020. URL : http://journals.openedition.org/interfaces/1458 ; DOI : https://doi.org/10.4000/interfaces.1458 Les contenus de la revue Interfaces sont mis à disposition selon les termes de la Licence Creative Commons Attribution 4.0 International. Everyday Photography? Politicizing a ‘vernacular’ photo album of the San Francisco Earthquake and Fire of 1906 29 EVERYDAY PHOTOGRAPHY? POLITICIZING A ‘VERNACULAR’ PHOTO ALBUM OF THE SAN FRANCISCO EARTHQUAKE AND FIRE OF 1906 Carolin Görgen Sorbonne Université, HDEA Abstract: The San Francisco earthquake and fire of 1906, defined as the most-photographed event of the early twentieth century, overlaps with the beginnings of vernacular photography. Drawing on the vast output of the disaster, this article politicizes the notion of the vernacular. As art institutions have championed an aestheticized vernacular, many anonymous photographs have been stripped off their sociopolitical context. A host of related practices, such as amateur or club photography, have thus become marginalized. This perspective has reinforced a narrative of American photography ca.
    [Show full text]