Some angies from Maia’s homework today:
- How many wheels have three cars?
- How many legs have five tables?
Some angies from Maia’s homework today:
Time-lapse photography is a technique whereby film frames are captured at set intervals; and the frames then later viewed at a shorter interval than that in which they were taken. This creates an impression of motion. In standard time-lapse photography, subjects that change very slowly will suddenly acquire visible motion. Where the subject changes quickly, even more rapid activity will result. Clouds, the stars, plants, people and construction projects are popular and classic subjects of time-lapse techniques. Irrespective of the subject, the camera position is normally fixed in place for the full time that the time-lapse takes place.
Hyperlapse is a variation of time-lapse where the position of the camera is changed between each exposure interval. The camera is slowly mover through long distances. Subjects can be fixed or moving, but the camera view point is usually aimed at an exactly defined fixed point. The images are then aligned and merged to form a moving image.
There are many definitions, opinions and discussions regarding what is and what is not street photography. Wikipedia has the rather high sounding line: Street photography is an art photography that features the human condition within public places and does not necessitate the presence of a street or even the urban environment. The subject of the photograph might be absent of people and can be object or environment where the image projects a decidedly human character in facsimile or aesthetic. It then goes on to try and define “aspects of the craft”.
Eric Kim has a much shorter, applied definition of the term. Using various examples of photographers seen as classic street photographers, he concludes that “street photography can really be shot anywhere as long as it is open to the public to enter and leave as they please.” He also feels that street photography does not need to have people in it.
Valerie Jardin gives a 12 easy steps how to approach street photography. She feels there are no official rules, just go out there and have fun. I tend to agree with the above two view points and see street photography as any photography by any means when you are out and about on the street.
Since I first had access to a digital camera, I was doing a form of street photography. Being digital meant cost were relatively low. You could take chances and experiment. Mistakes was easy to review within a short period and adjust your technique accordingly.
I recently upgraded my cell phone and bought a Samsung Galaxy Note 2. Combined with an Otterbox that clips to your belt, a new opportunity for photography presented itself. Using a time-lapse app, I was able to set it up to automatically take photos at various intervals. I have no control over composition, framing, exposure, stability or any of the variables associated with photography. I term this street lapse photography. When I go out, I start the app, clip the phone to my belt, and leave it until I get back in the car, back to the house or return to my office. I often walk to work and back home again. Depending on the situation, the interval can be anything between 2 seconds to 30 seconds. If I find myself in a rich environment, the interval is made shorter.
The results has been very satisfying. Valerie says, “Go out there and have fun!”, and I totally agree. At photo.net, Philip Greenspun describes the best thing about street photography as the serendipity. Interesting details are often missed by the photographer and is only seen when the image is finally viewed. The frozen moment can be studied at leasure. The unattended use of the time-lapse while you move around goes further. It brings back an element of the original film photography, where, although you had control over the variables, you often would not know what the results would be before the film is both full and developed.
One confession. Although I don’t pose the image, frame the shot and select exposure, I do sometimes pause slightly, turn a little and adjust the belt clip if the situation warrants it.
And at the end I am having fun doing so and enjoy later studying these bits of time frozen forever.
Film developed, scanned and the results are in. Out of three photos taken, three were usable. Relatively sharp in the middle of the image, with fall off to the sides. The film is Ilford Pan F. Other artifacts visible on the photos are the wavy wall. This is caused by the use of 35 mm wide film in a 40 mm wide space. If I can make a second spool for the film, make some support and keep the film tight across the back, focus should also improve.
The film was developed tonight. Success! Three images are visible on the strip of film.
One obvious issue that needs correcting is the amount of winding to get to bring a new strip of unexposed film into the correct position. I will be experimenting with a piece of film without the backing paper. This would allow more photos and probably ease advancing the film.
Was able to load 60 cm worth of film on the spool. The back of the camera is about 10 cm long. Although that would equal 6 images, I was able to take 3 photos before the winding started to get too tight. Development this evening.
I received a very generous gift of an Ensignette pocket camera. This included an empty spool and the leatherette case. The shutter and aperture worked; the bellows looked intact and not leaking light.
Could it still take photos?
The first step would be to make a film. I decided to make a small scale version of a 120 roll film, with a backing paper and rolled around some kind of spindle. For the backing paper, the paper from a Lomography 120 roll film was cut down to 40 mm width. An old film was added, and then rolled around the spool to determine the maximum length of film that would fit on the spool. The combined thickness of the film and backing paper allowed for about 600 mm of film to be wound around the spool.
The red window was obviously not going to work, so I next had to measure the number of turns to align the next unexposed frame to the lens. Five turns seemed to do the trick.
A split pin paper binder was used as the core of the unexposed film. Inside a daylight bag, and using the backing paper as a guide to length, film was rolled around the makeshift spindle. The end of the roll was fixed to the empty spool and then, still inside the bag, loaded into the camera.
Tomorrow I will shoot the film and develop in the evening. Watch this space for updates. For photographs, see my gallery.
Just finished developing four rolls of black and white film. Two Ilford FP4+, one Ilford HP5 and a twenty year old Agfapan 25.
All the rolls have images! Success!
Tomorrow night I scan.
1. The Principle of the Number One Rule – If ever in doubt, do what Number One would do.
2. The Accountability Myth – Why accountability and delivery are overrated political activities.
3. The Elected Servant of the People Myth – Tips and tricks to deal with this erroneous and unfortunate way of thinking.
4. The Promise Principle [serving us handsomely for the last 20 years] – making promises to the people who elect you and how to avoid actually delivering on these promises… Ever.
5. The Blame Game – This subject will arm you with every single excuse you need to give when you are challenged about your lack of delivery or accountability.
6. The Smoke and Mirrors Generator – learning from our best – ANC ministers and spokespeople take you through some essential strategies to deflect problems and distract people from the truth.
7. Levelling the Playing Field – Using threats, intimidation and general anarchy to eradicate anyone who stands in the way of you keeping your job – no matter how poorly you perform.
Footnote: Unfortunately due to a number of reasons the 2013 Political School text books will probably [maybe] only be delivered in 2015.
(Taken from a comment by Glen Tomlinson on the M&G website on 5 July 2013)
Someone only ever dies if there is no-one to remember them…
National Key Points will henceforth be known as G-spots.