An Eclipse umbrella is a relatively inexpensive device that assists in controlling the lighting of a photograph. The umbrella is is made of a reflective material that bounces and diffuses light on specific areas. An umbrella on a light-stand allows the photographer to focus light where it is needed. The umbrella's support ribs are covered with reflective material to prevent any loss of light
Instructions
1
Open the light stand and position it near the subject being photographed. This is a temporary location. Move the stand when you adjust the lighting.
2
Screw an umbrella adapter on the end of the light stand.
3
Remove the Eclipse umbrella from its sheath. Open it by pushing up on the runner located on the umbrella shaft. Push up the runner until the umbrella is locked in place.
4
Insert the end of the umbrella into the hole in the light-stand adapter; adjust the umbrella to the desired length. Use the thumbscrew on the adapter to tighten the umbrella in place. Loosen and tighten the thumbscrew to adjust the umbrella's angle.
5
Attach a flash or light source on top of the light-stand adapter. Aim the light source at the interior of the umbrella; this reflects light on the subject. Reposition the light and umbrella as needed.
An Eclipse umbrella is a relatively inexpensive device that assists in controlling the lighting of a photograph. The umbrella is is made of a reflective material that bounces and diffuses light on specific areas. An umbrella on a light-stand allows the photographer to focus light where it is needed. The umbrella's support ribs are covered with reflective material to prevent any loss of light
Instructions
1
Open the light stand and position it near the subject being photographed. This is a temporary location. Move the stand when you adjust the lighting.
2
Screw an umbrella adapter on the end of the light stand.
3
Remove the Eclipse umbrella from its sheath. Open it by pushing up on the runner located on the umbrella shaft. Push up the runner until the umbrella is locked in place.
4
Insert the end of the umbrella into the hole in the light-stand adapter; adjust the umbrella to the desired length. Use the thumbscrew on the adapter to tighten the umbrella in place. Loosen and tighten the thumbscrew to adjust the umbrella's angle.
5
Attach a flash or light source on top of the light-stand adapter. Aim the light source at the interior of the umbrella; this reflects light on the subject. Reposition the light and umbrella as needed.
[How-To] Using tiny umbrella to update/downgrade/restore
This guide is for people wanting to use tiny umbrella to restore to firmwares Apple is no longer signing. Currently Apple is signing: 6.1.3 and 4.1(3G/3GS only for 4 ...
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Eclipse Subversive - Subversion (SVN) Team Provider. The Subversive project is aimed to integrate the Subversion (SVN) version control system with the Eclipse platform.
How to useUmbrella Rigs / How to retrieve a SNAGGED RIG-
www.youtube.com/watch?v=0xoqS59Tz2I
using Cow Catcher umbrella Rigs.How to deploy an Umbrella rig, How to save a snagged U-rig. Basics. www.cowcatcherumbrellarigs.com
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Check out this video to see how to collect blood with the BD Vacutainer Eclipse Blood Collection Needle. The BD Eclipse Blood Collection Needle is a safety-engineered ...
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This beginner-oriented tutorial walks through all the steps to create a very basic program in Java which will sum all numbers from 1 to n. It begins with ...
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www.club3g.com/.../120365-how...using-dmm-method-please-sticky.htmlLast updated: Mar 31, 2009 15 posts First post: Jan 27, 2009
Club3G Forum : Mitsubishi Eclipse 3G Forums > Non-Performance Car Forums > Car Audio and Electronics: How to properly set your amplifier gains using the DMM
Solar Eclipse: A How-To Guide for Viewing Eclipses Exploratorium
www.exploratorium.edu/eclipse/how.html
This is probably the most important part of this website. If you ever want to view a solar eclipsewhether its total, annular, or partialthe first ...
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wiki.eclipse.org/IRC_FAQ
General I'm new, what should I read first? Recommended Eclipse Reading List; The Official Eclipse FAQs - Getting Started; What are eclipse and eclipse-dev about?
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Tweet; Email; Sharebar; Tweet; Email; Introduction : The Purpose of this tutorial is to Demonstrate the New introduced Web Axis2 Web service Tool using WTP 2.0 Driver ...
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www.eclipse.org/downloads
Eclipse Standard 4.3, 198 MB Downloaded 180,830 Times Other Downloads The Eclipse Platform, and all the tools needed to develop and debug it: Java and Plug-in ...
How to override equals and hashCode method in Java - Example,
javarevisited.blogspot.com/2011/02/how-to-write-equals-method-in...34 posts By Javin Paul Published Feb 23, 2011
Feb 20, 2011 equals and hashcode are most important method of Java object class and at the same time tricky also,this post shows example of
Do It Yourself Car Maintenance - How To Information Page 1
www.ehow.com Cars Car Maintenance
Don't just sit there scratching your head, find useful info on Do It Yourself Car Maintenance on eHow. Get essential tips and learn more about everything from How to ...
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Eclipse Internet is NJ New Jersey's best Internet service provider for business and personal Internet access via fractional and full T-1s, leased lines, frame relay ...
JavaFX Documentation Home JavaFX 2 Tutorials and Documentation
docs.oracle.com/javafx
After you decide what controls you want in your UI, use one of the built-in layout panes to manage the size and position of the controls.
Working with printers, photographers and graphic artists for over 30 years has given me a great appreciation of workflow. Workflow principles can be applied to almost every part of your life. Workflow is really the understanding of every element needed to create something and planning for and executing the process of creation. Cooking is a great example of a practical workflow. If I want to cook chili, I first have to acquire the ingredients, prepare them for cooking, cook them with a specific process and then serve the chili for dinner. Every workflow is unique. Photographers will have many workflows. The workflow is dependent on the subject, the media and distribution of the finished project. In this article I will try to get you to think about workflow and explain the basic elements of photographic workflows.
* Note: there are university-level classes on this subject and this article is meant as an overview.
Instructions
1
Plan for every part of the project, which is the first step in any workflow. What is it I am going to create? For this article I will use "Photographing my Flower Garden" as an example of a photographic project. What is the end product? If I want pictures for the web, resolution is not as important. If I plan to print, then I need to know the target resolution and required color profile of the output device. I also need to know the file format requirements for the final media, which could be a cell phone, coffee table book or DVD.
Scout the location. What time of day is the best to photograph the garden? Visualize the photograph you want to take and the tones you want in the end product. Use the zone system and a filter to remove the colors so you can think about tones. Next think about the color of the blooms. A blood red tulip may require full sun to make the color pop out. The delicate pink of Mountain Laurel requires indirect sunlight. Break down your project into all the required components. Will I need a close up lens, tripod or other special equipment? Do I need an assistant? The final step of planning requires gathering all the equipment and materials and in this case following the weather forecasts.
2
Focus on preproduction. You have scouted the location as part of planning. During scouting is the time when you want to begin visualizing your images. Preproduction is where you finalize your visualization. You may have to assemble umbrellas or light diffusers. Identify tripod positions. Set up your camera for bracketing and white balance. Depending on the output, you may want to make corrections for white balance and decide if you want to make these adjustments during shooting or create a color profile during postproduction. Preproduction encompasses all the things that you want to accomplish prior to shooting.
3
Record the image. You may begin in the morning to capture the dew and indirect sunlight. You may need the noon sun to get the maximum amount of light on dark blooms and to highlight textures. This will become apparent to you during the visualization process. You will want to bracket your exposures. You may also want to shoot in burst mode if it is a windy day. I am always amazed at how much plants move.
4
Begin postproduction, which involves uploading your images to the computer and the editing of the images for cropping, color, contrast or any other image defects. If you have done the first steps correctly, the photo-editing step may not be required. Another element of postproduction is to prepare the images for production. You may say, "hey I already shot these; they have been produced." Capturing the images is one thing, but if you want to share images on the Internet you may need to convert them to a different format. Printing images will require conversion to the CMYK color space, and if you are publishing your images in a book you will need a page makeup program for layout and text addition. These are all elements of postproduction.
5
Enter into production or distribution, which is the final step of the workflow. Here you will actually print your images on your output device or send them to a commercial printer in PDF format for them to print. You may create a CD or DVD of your images and send them to the web or a mobile device. Since resolution and format are the keys to photographic reproduction, you can see how important planning is to this process. If the final target is a coffee table book, you may require different equipment then if you are shooting for cell phone distribution. Resolution and output size must be understood during the planning phase so you wind up in the production phase with the right file format in the correct size with enough resolution for the output size.
Working with printers, photographers and graphic artists for over 30 years has given me a great appreciation of workflow. Workflow principles can be applied to almost every part of your life. Workflow is really the understanding of every element needed to create something and planning for and executing the process of creation. Cooking is a great example of a practical workflow. If I want to cook chili, I first have to acquire the ingredients, prepare them for cooking, cook them with a specific process and then serve the chili for dinner. Every workflow is unique. Photographers will have many workflows. The workflow is dependent on the subject, the media and distribution of the finished project. In this article I will try to get you to think about workflow and explain the basic elements of photographic workflows.
* Note: there are university-level classes on this subject and this article is meant as an overview.
Instructions
1
Plan for every part of the project, which is the first step in any workflow. What is it I am going to create? For this article I will use "Photographing my Flower Garden" as an example of a photographic project. What is the end product? If I want pictures for the web, resolution is not as important. If I plan to print, then I need to know the target resolution and required color profile of the output device. I also need to know the file format requirements for the final media, which could be a cell phone, coffee table book or DVD.
Scout the location. What time of day is the best to photograph the garden? Visualize the photograph you want to take and the tones you want in the end product. Use the zone system and a filter to remove the colors so you can think about tones. Next think about the color of the blooms. A blood red tulip may require full sun to make the color pop out. The delicate pink of Mountain Laurel requires indirect sunlight. Break down your project into all the required components. Will I need a close up lens, tripod or other special equipment? Do I need an assistant? The final step of planning requires gathering all the equipment and materials and in this case following the weather forecasts.
2
Focus on preproduction. You have scouted the location as part of planning. During scouting is the time when you want to begin visualizing your images. Preproduction is where you finalize your visualization. You may have to assemble umbrellas or light diffusers. Identify tripod positions. Set up your camera for bracketing and white balance. Depending on the output, you may want to make corrections for white balance and decide if you want to make these adjustments during shooting or create a color profile during postproduction. Preproduction encompasses all the things that you want to accomplish prior to shooting.
3
Record the image. You may begin in the morning to capture the dew and indirect sunlight. You may need the noon sun to get the maximum amount of light on dark blooms and to highlight textures. This will become apparent to you during the visualization process. You will want to bracket your exposures. You may also want to shoot in burst mode if it is a windy day. I am always amazed at how much plants move.
4
Begin postproduction, which involves uploading your images to the computer and the editing of the images for cropping, color, contrast or any other image defects. If you have done the first steps correctly, the photo-editing step may not be required. Another element of postproduction is to prepare the images for production.
. You may say, "hey I already shot these; they have been produced." Capturing the images is one thing, but if you want to share images on the Internet you may need to convert them to a different format. Printing images will require conversion to the CMYK color space, and if you are publishing your images in a book you will need a page makeup program for layout and text addition. These are all elements of postproduction. 5
Enter into production or distribution, which is the final step of the workflow. Here you will actually print your images on your output device or send them to a commercial printer in PDF format for them to print. You may create a CD or DVD of your images and send them to the web or a mobile device. Since resolution and format are the keys to photographic reproduction, you can see how important planning is to this process. If the final target is a coffee table book, you may require different equipment then if you are shooting for cell phone distribution. Resolution and output size must be understood during the planning phase so you wind up in the production phase with the right file format in the correct size with enough resolution for the output size.
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Switching from black-and-white film to colored film can present some singular challenges. Darren Rowse of Digital Photography Tips recommends using the lowest ISO rating possible when shooting in black-and-white. But, depending on what you are photographing, a low ISO rating may not be ideal when switching to color film. Using a color film with the same ISO rating as the black-and-white can reduce the need to change settings, but understanding ISO ratings and the settings associated with it can allow you to use the film you need.
Instructions
1
Finish any current roll of black-and-white film in your camera. Rewind it and remove it when you are done.
2
Look at your roll of black-and-white film for the ISO rating on it. ISO ratings refer to the "speed" of the film and can range from 25 to 1600. These numbers indicate the amount of light necessary for proper exposure. Light can be adjusted by changing your aperture size and shutter speeds or by increasing or decreasing the amount of light present.
3
Purchase color film. Color film can be purchased at photography stores, film developing places and even grocery stores and convenience stores frequently. Make sure the color film you are purchasing has an ISO rating the same or close to the black-and-white film you were using. This will help reduce the number of settings you need to change on your camera.
4
Feed your color film into your camera and advance it either automatically or manually depending on the style of your camera. Color film goes in the camera the exact same way black-and-white film does.
5
Adjust your aperture and shutter-speed settings as necessary if your color film has a different ISO rating than your black-and-white film. The higher the ISO rating is the smaller the aperture and faster the shutter speeds can be (see link in Resources for more information on shutter speeds and apertures).
Switching from black-and-white film to colored film can present some singular challenges. Darren Rowse of Digital Photography Tips recommends using the lowest ISO rating possible when shooting in black-and-white. But, depending on what you are photographing, a low ISO rating may not be ideal when switching to color film. Using a color film with the same ISO rating as the black-and-white can reduce the need to change settings, but understanding ISO ratings and the settings associated with it can allow you to use the film you need.
Instructions
1
Finish any current roll of black-and-white film in your camera. Rewind it and remove it when you are done.
2
Look at your roll of black-and-white film for the ISO rating on it. ISO ratings refer to the "speed" of the film and can range from 25 to 1600. These numbers indicate the amount of light necessary for proper exposure. Light can be adjusted by changing your aperture size and shutter speeds or by increasing or decreasing the amount of light present.
3
Purchase color film. Color film can be purchased at photography stores, film developing places and even grocery stores and convenience stores frequently. Make sure the color film you are purchasing has an ISO rating the same or close to the black-and-white film you were using. This will help reduce the number of settings you need to change on your camera.
4
Feed your color film into your camera and advance it either automatically or manually depending on the style of your camera. Color film goes in the camera the exact same way black-and-white film does.
5
Adjust your aperture and shutter-speed settings as necessary if your color film has a different ISO rating than your black-and-white film. The higher the ISO rating is the smaller the aperture and faster the shutter speeds can be (see link in Resources for more information on shutter speeds and apertures).
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Founded by Robert De Niro and Jane Rosenthal in 1988. A New York City based production company, screening room, and on-going film series.
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Can't Wait For The Sequel? 'Prometheus' Will Live In An Upcoming Comic Kevin Jagernauth on Wed Jul 03 17:27:11 EDT 2013
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34 posts By Javin Paul Published Feb 23, 2011
