UK Photographer Transforms Shipping Container Into Camera And Darkroom: Digital Photography... [PORTABLE]
UK Photographer Transforms Shipping Container Into Camera And Darkroom: Digital Photography... ->->->-> https://fancli.com/2tr93y
created by exploredinary, the documentary takes place over the three weeks the shipping container camera was set up in exeter, UK. during the time, brendan barry spent time creating pictures of the community and developing the prints inside the darkroom. to conclude the event, the photographer hosted a gallery inside the container and exhibited the final pictures.
Container Camera is a shipping container converted into a giant camera with a built-in darkroom that can produce large traditional analog prints. Barry describes the solar-powered camera/darkroom as a wheelchair-accessible space that can be used to accommodate large groups for photography workshops.
The container is located in Exeter, UK, where Barry spent three weeks producing images with the workspace. During various times, the camera was open to the public, and other times it hosted people from community groups, charities, and education centers. Toward the end of the project, the shipping container was then turned into a gallery where photos produced by the camera were put on display.
Around here we've been transforming containers into many other things, so much that the transport industry is finding hard to meet their demands.Where did he get such a revolutionary ideaNext week he'll convert his shoe box into a camera obscura..He will be in the next week.
Moreover, the onboard computational resources can usually perform aperture adjustment and focus adjustment (via inbuilt servomotors) as well as set the exposure level automatically, so these technical burdens are removed from the photographer unless the photographer feels competent to intercede (and the camera offers traditional controls). Electronic by nature, most digital cameras are instant, mechanized, and automatic in some or all functions. Digital cameras may choose to emulate traditional manual controls (rings, dials, sprung levers, and buttons) or it may instead provide a touchscreen interface for all functions; most camera phones fall into the latter category.
The first consumer digital cameras were marketed in the late 1990s.[1] Professionals gravitated to digital slowly, converting as their professional work required using digital files to fulfill demands for faster turnaround than conventional methods could allow.[2] Starting around 2000, digital cameras were incorporated into cell phones; in the following years, cell phone cameras became widespread, particularly due to their connectivity to social media and email. Since 2010, the digital point-and-shoot and DSLR cameras have also seen competition from the mirrorless digital cameras, which typically provide better image quality than point-and-shoot or cell phone cameras but are smaller in size and shape than typical DSLRs. Many mirrorless cameras accept interchangeable lenses and have advanced features through an electronic viewfinder, which replaces the through-the-lens viewfinder of single-lens reflex cameras.
The first digital single-lens reflex (DSLR) camera was the Nikon SVC prototype demonstrated in 1986, followed by the commercial Nikon QV-1000C released in 1988.[21] The first widely commercially available digital camera was the 1990 Dycam Model 1; it also sold as the Logitech Fotoman. It used a CCD image sensor, stored pictures digitally, and connected directly to a computer for downloading images.[22][23][24] Originally offered to professional photographers for a hefty price, by the mid-to-late 1990s, due to technology advancements, digital cameras were commonly available to the general public.
Image sensors are arrays of electronic devices that convert the optical image created by the camera lens into a digital file that is stored in some digital memory device, inside or outside the camera. Each element of the image sensor array measures the intensity of light hitting a small area of the projected image (a pixel) and converts it to a digital value.
The quality of a digital image is a composite of various factors, many of which are similar to those of film cameras. Pixel count (typically listed in megapixels, millions of pixels) is only one of the major factors, though it is the most heavily marketed figure of merit. Digital camera manufacturers advertise this figure because consumers can use it to easily compare camera capabilities. It is not, however, the major factor in evaluating a digital camera for most applications. The processing system inside the camera that turns the raw data into a color-balanced and pleasing photograph is usually more critical, which is why some 4+ megapixel cameras perform better than higher-end cameras.
Some digital cameras can show these blown highlights in the image review, allowing the photographer to re-shoot the picture with a modified exposure. Others compensate for the total contrast of a scene by selectively exposing darker pixels longer. A third technique is used by Fujifilm in its FinePix S3 Pro DSLR: the image sensor contains additional photodiodes of lower sensitivity than the main ones; these retain detail in parts of the image too bright for the main sensor.
Color reproduction (gamut) depends on the type and quality of film or sensor used and the quality of the optical system and film processing. Different films and sensors have different color sensitivity; the photographer needs to understand their equipment, the lighting conditions, and the media used to ensure accurate color reproduction. Many digital cameras offer RAW format (sensor data), which makes it possible to choose the color gamut in the development stage regardless of camera settings.
Digital photography has made photography available to a larger group of people. New technology and editing programs available to photographers have changed the way photographs are presented to the public. Photographs can be heavily manipulated or photoshopped to look completely different from the originals. Until the advent of the digital camera, amateur photographers used either print or slide film for their cameras. Slides had to be developed and shown to an audience using a slide projector. Digital photography eliminated the delay and cost of film. Consumers became able to view, transfer, edit, and distribute digital images with ordinary home computers rather than using specialized equipment.
About the ArtistBrendan Barry is a photographer, lecturer and camera builder. His creative photographic practice combines elements of construction, education, performance and participation and is mostly concerned with the transformation of different objects and environments into spaces capable of viewing and capturing a photographic image, using the mechanics of photography as a tool for exploration and collaboration. In other words, Brendan turns things into cameras and uses them to teach photography. His work is playful in essence, but working in this way allows the opportunity for meaningful relationships to build and transformative experiences to be had.FIND THIS INTERESTING SHARE IT WITH YOUR FRIENDS!ShareTweetFlipboardWhatsApp
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As digital photographers, it is very easy for us to shoot black and white. It is a thoughtless process. And therein lies the problem. We can convert any photo we have ever taken into monochrome with the click of a mouse button. It does not require that we think like a monochrome photographer, nor does it require us even understand the monochrome thought process. For that reason, many of our black and white images are actually just color images without color, not a truly well thought out monochrome.
Anthony Pitman Carr was the eldest son of Job Carr, (Tacoma'sfirst mayor and postmaster and notable pioneer who constructed the firstnon-native residence in Commencement Bay), who came to Tacoma in 1865 and wentinto business with photographer and camera furnisher E.A. Light. Carr had aphotograph gallery in Marshalltown, Iowa from 1863-1864 and one in Tacoma from1866- circa 1900. Prior to his move to Tacoma, Carr was a soldier in the CivilWar who delivered photographs and messages to President Lincoln.
Barry has not always had the luxury of such a large studio. He moved into his current space, which is owned by the performative arts organisation Maketank, in May 2020, during the first lockdown. Before that, he worked between his house and three shipping containers, which functioned either as a darkroom or storage units for various bits of equipment (including aro
