Special effects photography For the ultimate image Taking materials Jurgen, for the last twenty years you have worked exclusively for big clients and agencies. Yet…
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SINAR Information No 28
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.
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SINAR Information No 27
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.
SINAR Information No 25
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.
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SINAR Information No 24
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.
SINAR Information No 22
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.
SINAR Information No 21
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.
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SINAR Information No 20
1980 again made photographic history. For the first time a group of manufacturers is producing spot exposure meters with full flash compatibility. The author has worked with the first SINAR exposure meters of this new generation and in this article describes this approach of “tailored automation”.
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SINAR Information No 19
Professional photography in the 1980s will stand in the light of technical progress in hardware, and in the shadow of raw material shortages, including silver and hence all film materials. Looking at specific areas in these terms gives us an idea of the trends facing professional photography in the 1980s, especially concerning large-format use.
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SINAR Information No 18
With multi-exposure assembly the exposure must be correct for each individual image component. This is a complex problem which can only be solved by spot readings of small and precisely defined areas directly in the image plane. Only the SINARSIX can do this with the required accuracy.
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