Professional photographers have to cope with every kind of client and every type of assignment. No two jobs are the same, or even alike. That calls for considerable creative as well as technical adaptability by the photographer. His photographic tool should logically match this flexibility.View More SINAR Information No 15
With this SINAR information No. 4 we draw your attention to two very useful accessories from the extremely versatile SINAR range. These are the SINAR clamping stand and the SINAR front surface mirror.
The illustrations in this leaflet show how these two units can help you in your work and make your SINAR still more versatile.
Not surprisingly printers, lithographers, art directors and clients are increasingly concerned that photographers should keep to these brightness range limits. Agreeing on such guidelines eliminates most problems when the pictures are delivered for the process work. Here, too, communication counts – the photographer and the lithographer or customer must each know what the other is up against.The aim of this Information is to show ways of measuring and controlling the subject brightness range and contrast in view camera photography.View More SINAR Information No 31
Controlled subject brightness range, established by careful spot exposure readings in the film plane is just one aspect. Equally vital is professional colour control for a specific impact. The result the client gets should need no further explanation – it must make its point in creative content and technical perfection.View More SINAR Information No 28
The SINAR p2 made its showing in professional black glamour at the 1984 photokina – so it’s no longer really new.
On the other hand we should now be able to tell how well that glamour translates into solid practical user value. This top model from SINAR has six significant characteristics. Here, in their own words, is what professionals from nine countries think of the p2.
Good results in print depend on careful planning when you shoot the pictures to be reproduced. You must know what you want in print and the factors involved. Photographers tend to forget that print processes differ in characteristics, paper, screen rulings, ink weight etc. You must allow for the fixed conditions specific to the process – hence the original must suit the medium in which it is to be printed. We shall deal here with the main ways in which printing affects image quality and with how to achieve the best results.View More SINAR Information No 25
View camera photographers tend to use small lens apertures. The reason is largely one of ancient tradition.
The practice of stopping down by one or two lens stops more than really necessary was originally meant to cover focusing errors. That included not quite accurately set swings in sharpness distribution control.
Addressed to experts, this article assumes familiarity with the principles of full-area reflected-light metering (meter pointing at subject) and of incident-light readings (meter pointing from subject at light source).View More SINAR Information No 23
The problem of yaw in conventional view cameras interferes even with simple and straightforward adjustment sequences:
For instance, if you want to show something of the top as well as the front of an upright object, you have to use a dropfront (vertical shift) movement.
After setting up and for 4 years running a photographic studio for an advertising agency, he was employed another 5 years as a photographer. At 31 years, rather late in his own view, Peter Forster set up on his own. He invested in the best equipment and therefore had to ask high fees right from the start. He was successful almost immediately.View More SINAR Information No 21