Argus Cameras, This Book Concentrates Predominantly on Those Issues That Would Be of Importance to a User
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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. -
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. -
Modular Encapsulation and Japanese Dominance of the Professional Camera Sub-Market, 1955-1974
Paper to be presented at the DRUID Society Conference 2014, CBS, Copenhagen, June 16-18 Modular Encapsulation and Japanese Dominance of the Professional Camera Sub-Market, 1955-1974. Paul Windrum Nottingham University Business School Strategy [email protected] Michelle Haynes University of Nottingham Business School [email protected] Peter Thompson Goizueta Business School Emory University [email protected] Abstract Modular encapsulation provides new features without altering the number of the core modules that make up a complex product, or their functionality. This innovation strategy has not been considered in the mirroring literature. Using a dataset of prices and product features for 1,816 professional cameras sold between 1955 and 1974, we apply data envelope analysis (DEA) to test the strategic significance of lens and body encapsulation by proprietary automated exposure (AE) systems. We find that the professional camera market was modular between 1955 and 1960, dominated by Ger-man specialist body and specialist lens manufacturers. Market structure changed due to the success of innovative Japanese start-ups, particularly integrated body and lens manufacturers who, from 1961, successfully developed proprietary AE systems that offered users novel features. The success of these Japanese integrated manufacturing firms broke the mirror between product architecture and industry architecture. Jelcodes:O31,L60 Breaking the Mirror DRUID Conference Submission Breaking the Mirror: Modular Encapsulation and Japanese Dominance of the Professional Camera Sub-Market, 1955- 1974. February 2014 Abstract Modular encapsulation provides new features without altering the number of the core modules that make up a complex product, or their functionality. This innovation strategy has not been considered in the mirroring literature. -
11.4 the Optics of Other Devices
11.4 The Optics of Other Devices projection head Activity 11.4.1 Optics of an Overhead Projector focus knob Overhead projectors (Figure 1), like many optical systems, consist of three sys- tems that work together: a mechanical system, an electronic system, and an optical system. Their function is to project an enlarged image from a transparent film onto a distant screen. In this activity, you will see how the different optical optical components of the projector work together. stage Materials overhead projector appropriate screwdrivers projector case Procedure Figure 1 1. Before turning on the overhead projector, open the optical stage to see An overhead projector inside the projector case. Sketch the arrangement of optical components by considering what a cross-section of the projector would look like. Note the arrangement of any bulbs, mirrors, or lenses that you find in the projector case. Add the optics of the projection head to your sketch. 2. Turn on the projector to project an image of a letter onto a screen nearby. Make adjustments to focus the image. 3. Use the focus knob to move the projection head upward. How does this affect the image? Refocus the image. 4. Use the focus knob to move the projection head downward. How does this affect the image? Refocus the image. 5. Move the projector farther from the screen. How does this affect the image? Analysis (a) Draw a ray diagram, with at least three different rays, showing how light travels from the bulb to the screen. (b) In table form, describe the structure and function of each optical compo- nent of the overhead projector. -
The Christie Xenolite 35Mm Movie Projector System
The Christie Xenolite 35mm Movie Projector System User’s Guide 2 The Christie Xenolite 35mm Movie Projector System Version 5-062412 Printed June 2012 Published by: FedEx Office 2125 El Camino Real Santa Clara, CA 95050 http://www.fedex.com Copyright 2012 David Hovey [email protected] All rights reserved. Table of Contents 3 Table of Contents Introduction 7 System Overview 9 The Movie Projector Unit 9 Main Control Panel 10 Projector Motor and Gear Systems 11 Film Pathway Compartment 12 The Illumination Lamp 13 Lens System 14 Failsafe Unit 15 DTS Sound Reader Unit 15 Film Platter and Tree Unit 16 The Brain 17 The Dancer 17 The Film Pucks and Safety Ring 18 The Film Platter 18 The Film Tree 19 The Film Rollers 19 The DTS Sound Console 20 CD Player 20 4 The Christie Xenolite 35mm Movie Projector System The Control Panel 21 The Amplification Units 21 Getting Started 23 Maintenance Supplies 23 Lens Cleaner 24 Projector Cleaner 24 Synthetic Lubricant 25 Lens Cleaning Wipes 25 Projector Cleaning Wipes 25 Disposable Gloves 25 Cotton Swabs 26 Oil Dispenser 26 Compressed Air Container 26 Flashlight 26 Safety Precautions 26 Lens and Projector Cleaner 26 Synthetic Lubricant 26 Maintenance 27 Checking and Filling the Oil Reservoir 27 Cleaning the Lenses 29 Cleaning the Projection Plate 30 Cleaning the Film pathway Compartment 31 Lubricating the Visible Gear Systems 31 Format and Sound Setup 33 Checking the Film Formats 33 Adjusting the Theatre Curtains 34 Changing the Lenses 35 Table of Contents 5 Changing the Aperture Plate 36 Changing the Movie -
Download Product Catalog
PHOTOGRAPHIC EQUIPMENT Developing excellence for over 65 years 150 Years of Manufacturing Excellence The Charles Beseler Company was founded in 1869 as a manufacturer of a variety of products including inhalers, magic lanterns with oil lamps and stereopticons. By 1943 the company had become an innovative audio-visual company serving the military and education markets. In 1953, Beseler entered the amateur and professional photography fields with the development of the 45 Series Enlarger and other darkroom products. Today, the Charles Beseler Company continues to be the leading supplier of photographic darkroom equipment for the educational market. Proudly made in the USA, at a modern manufacturing facility in Stroudsburg, Pennsylvania, Beseler’s line of high-quality photographic equipment continues to withstand the test of time and remains the industry standard for professionals and amateurs alike. beseler.com NEW PRODUCT DESIGN AND INNOVATION. A BESELER TRADITION. Our team of experts is constantly working on engineering and manufacturing new products to meet your most challenging photographic needs. Check back on our website to discover the very latest Beseler products, parts and accessories in the coming months! From enlargers and light sources to copy stands and easels, Beseler offers the highest quality photographic equipment, all backed by an experienced sales and service team. See why photographers have trusted our products for generations. ENLARGERS 2-3 LIGHT SOURCES 4-5 EASELS 6 COPY STANDS 7 ACCESSORIES AND REPLACEMENT PARTS 8-9 800.237.3537 • beseler.com 1 ENLARGERS 23C III-XL Enlargers All 23C III-XL enlargers are built around the extra long and rigid twin girder construction which helps reduce vibrations while allowing print sizes larger than 16” x20” on the baseboard. -
70-300Mm F/4-5.6 Di LD Model
AF70-300mm F/4-5.6 Di LD Macro 1: 2 300mm ((EquivalentEquivalent toto 464655mm )) Exposure:Exposure: ApertureAperture FullyFully OpenedOpened AutoAuto ISO400ISO400 ©2006 Tony Corbell new It’s never been easier to capture great action shots Lens designed for both 35mm film and digital SLR cameras. Model A17 For Canon AF, Konica Minolta AF-D, Nikon AF-D, and Pentax AF http://www.tamron.com E Make your pictures better than ever, with a lens that offers both long telephoto and macro capability A compact, lightweight telephoto zoom Optical design meets digital camera •Specifications featuring high image quality for both performance characteristics Model A17 Focal Length 70-300mm digital SLRs and 35mm film cameras Maximum Aperture F/4-5.6 Tamron’s “Internal Surface Coatings”* and new Angle of View Diagonal: 34˚21'-8˚15'(22˚33'- 5˚20') Tamron has redesigned its lightweight, compact multiple-layer coating technology on ordinary Horizontal: 28˚51'-6˚52'(18˚49'- 4˚26') AF70-300mm F/4-5.6 telephoto zoom lens that elements reduce ghosting and flare that hap- Vertical: 19˚16'-4˚21'(12˚22'- 2˚35') ( )= for APS-C sized digital cameras. already had a great reputation for being easy to pens due to reflections that can occur when Lens Construction 13 elements in 9 groups use. The result? A Di series lens that now goes light enters the lens as well as reflections Minimum Focus Distance 1.5m (59.0")(normal) 0.95m (37.4")(Macro Mode at f=180-300mm) equally well with digital SLRs and 35mm film cam- caused by the imager itself. -
HALS Photography Guidelines Define the Photographic Products Acceptable for Inclusion in the HABS/HAER/HALS Collections Within the Library of Congress
Historic American Landscapes Survey Guidelines for Photography Prepared for U.S. Department of the Interior National Park Service Historic American Buildings Survey/ Historic American Engineering Record/ Historic American Landscapes Survey Prepared by Tom Lamb, January 2004 HABS/HAER/HALS Staff (editing & revision, July 2005) 1 INTRODUCTION 1.0 ROLE OF THE PHOTOGRAPHER 1.1 Photographic Procedures 1.1.1 Composition 1.1.2 Lighting 1.1.3 Focus 1.1.4 Exposure 1.1.5 Perspective 1.2 Photographic Copies 1.3 Photography of Measured Drawings 1.4 Property Owners and/or Responsible Agencies 1.5 HALS Photographic Process 1.6 Methodology of Landscape Photography 1.7 Field Journal 1.8 Photographic Key 1.9 Identification 1.10 Captions 1.11 Site 1.12 Other Types of Photography often included in HALS 1.12.1 Historic Photography 1.12.2 Repeat and Matched. 1.12.3 Copy Work 1.12.4 Measured Drawings 1.12.5 Aerial Photography 1.12.6 Historic Aerials 2.0 PHOTOGRAPHING THE LANDSCAPE 2.1 Elements of site context that should be considered for photography 2.1.1 Geographic location 2.1.2 Setting 2.1.3 Natural Systems Context 2.1.4 Cultural/Political Context 2.2 Physical conditions on a site may be influenced by elements of time 2.2.1 Era/Period/Date of Landscape 2.2.2 Design Context or Period Influences 2.2.3 Parallel Historic Events 2.2.4 Parallel Current Events 2.3 The historic continuum/evolution of a site may include: 2.3.1 Chronology of Physical Layers 2.3.2 Periods of Landscape Evolution 2.3.3 Landscape Style 2.3.4 Periods of Construction 2.3.5 Land Use/Land 2.3.6 Settlement. -
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. -
Evolution Change the Concept of Focal Length?
CORE Metadata, citation and similar papers at core.ac.uk Provided by Ghent University Academic Bibliography AARGnews 34 (March 2007) Did the digital (r)evolution change the concept of focal length? Geert Verhoeven Introduction The advent of digital photography opened a completely new world for a lot of people. Just look around: there has never been a moment in photography’s long history that so many people actually had and used a photo camera. However, along with new technology always come misconceptions. One of these often heard and read delusions is the fact that “the focal length of lenses changes when used on a digital camera”, leading to strongly magnified images as indicated by a so-called digital magnification factor . The purpose of this article is to prove the above statement (and term digital magnification factor) to be incorrect by outlining the concepts of focal length and image sensor size as well as their combined effect on field of view. Size matters * Film formats Although aerial photographers use(d) a variety of photographic film formats, this article will compare the 135 format to its digital equivalent, in order not to end up comparing apples to oranges. Launched in 1934, this format had the highest sales worldwide. Hence, a lot of people are not even aware of the fact that smaller as well as larger film formats exist. On one end of the range, one finds smaller film formats as the 110 or sub-miniature format (introduced by Kodak in 1972 and 16 mm wide) as well as the rather recently (1996) launched APS (Advanced Photo System ) format, characterized by a 24 mm wide film. -
Plastic Cameras
PLASTIC CAMERAS PRELIMS.indd i 7/30/2010 10:10:40 PM To Ike Royer and Mary Ann Lynch who harassed and inspired me in my journey and made all of this possible. Ike Royer, 1932 – 2008, © Michelle Bates. Image of Ike made in his office at Freestyle Photographic, with a Lensbaby lens on Nikon DSLR. PRELIMS.indd ii 7/30/2010 10:10:40 PM PLASTIC CAMERAS Toying with Creativity Second Edition Michelle Bates Foreword by Mary Ann Lynch Amsterdam • Boston • Heidelberg • London New York • Oxford • Paris • San Diego San Francisco • Singapore • Sydney • Tokyo Focal Press is an imprint of Elsevier PRELIMS.indd iii 7/30/2010 10:10:44 PM Contributing Editor: Mary Ann Lynch Technical Editors: Frank Hamrick and Nic Nichols Title page photo: Coney Island, © Michelle Bates, 1992. Focal Press is an imprint of Elsevier 30 Corporate Drive, Suite 400, Burlington, MA 01803, USA The Boulevard, Langford Lane, Kidlington, Oxford, OX5 1GB, UK Second Edition, 2011 Copyright © 2011 by Michelle Bates. Published by Elsevier, Inc. All rights reserved No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage and retrieval system, without permission in writing from the publisher. Details on how to seek permission, further information about the Publisher’s permissions policies and our arrangements with organizations such as the Copyright Clearance Center and the Copyright Licensing Agency, can be found at our website: www.elsevier.com/permissions. This book and the individual contributions contained in it are protected under copyright by the Publisher (other than as may be noted herein). -
Holga This Camera, As Well As This Assignment, Will Introduce You To
Art 308/Intermediate Photography Spring 2015 Julie Mixon Project 5: Holga This camera, as well as this assignment, will introduce you to medium format film. There are many types of medium format cameras. We will first be working with the most basic of them all: the Holga. It is loved by many photographers because of its ease of use and its unpredictability. Even though quite simple in construction, there is so much you can do with a Holga. The Holga camera takes 120 format, but can also be adjusted to take 35mm. You can either adjust it (on the back of the camera) to make 12 or 16 exposures by using the appropriate frame included with the Holga. One frame indicates that it is for 12 exposures while the other indicates that it is for 16. If you want Holga-like images in all their glory I suggest choosing 12 exposures. You will get a bigger negative in addition to having Holga-like characteristics. The film should be loaded in very dim light. For further instruction on how to use a Holga camera, an instruction book is included in the box. Freestyle has dedicated a page to the Holga camera on their website. You can view image galleries, read the manual, and get tips on how to modify your Holga. Here is the link: http://www.freestylephoto.biz/holga-cameras Developing: Medium format film is process the same as 35mm, other than the size of the reel. When you unroll the spool (in complete darkness of course) there is a strip of paper that runs parallel with the film.