Systems and Processes.
This week we went through the origins of photography.
We looked at the camera obscura, which means darkened box. A camera obscura is a box with a convex lens or aperture for projecting the image of an external object. It is important historically in the development of photography. The artist has to trace the image produced onto a piece of paper.
Joseph Nicephore Niepce March 7, 1765- July 5, 1833 was a French inventor, most noted as one of the inventors of photography and a pioneer in the field. He developed Heliography, a technique used to produce the world's oldest surviving photograph in 1825.
View from the window at Le Gras 1926
William Henry Fox Talbot 11, February 1800 - 17, September 1877.
Dorset England.
A British inventor and photography pioneer who invented the Calotype process, a photographic process in which only a latent image had to be produced in the camera, which could be done in a minuet or two if the subject was in bright sunlight. The paper, shielded from further exposure to further sunlight, was then removed from the camera and the latent image was chemically developed into a fully visible image.
This process remained popular in the UK and some European countries until the Collodion process enabled photographers to make glass negatives later in the nineteenth century.
John Thomson 1837 - 1921
Self-portrait with Honan soldiers 1871
John Thomson was the first person to document the Far East.
China, A Manchu Bride, 1871
The Island Pagoda, Min River, Fukien, 1871.
Gustave le Gray, France 1820 - 1884
Camp de Chalons 1857
Gustave Le Gray was the first war photographer, documenting the Crimean war, 1853 - 1856.
Julia Margaret Cameron, born Julia Margret Pattle, 11, June 1815 Calcutta British India, died 26, January 1879, Kalutara, British Ceylon.
Julia Margret Cameron could possabley have been the first fasion photographer with her photo of Alice liddell in 1872.
Cameron portrait of Julia Prinsep Jackson, later Julia Stephen, Cameron's niece, favourite subject, and the mother of the author Virginia Woolf.
Roger Fenton 1819 - 1869 Pioneering British photographer.
Born in Bury Lancashire.
Crimean War
Versions of Valley of the Shadow of Death, with and without cannonballs
Aperture.
f/ numbers.
The relative size of the aperture is measured by the f/ number or f/ stop. it is the ratio between focal length of the lens and the diameter of the aperture.
The reason for making the size of the hole relative to the focal length, rather than an absolute figure, is that it enables us to use the same f/ number with different lenses and still obtain the same exposure setting. Because the aperture diameter is divided into the focal length, the smaller the f/ number, the lager the aperture. The basic f/ number series - 1, 1.4, 2, 2.8, 4, 5.6, 8, 11, 16, 22, 32, 44, 64 and so on- moves in steps of one stop representing a doubling or halving of lens diameter, which corresponds to a doubling or halving of exposure.
Weekly picture project.
The first weekly picture project was Blackburn, an unusual view.
For this I went to various places around Blackburn taking 250 to 300 photos to come up with two I thought good enough to submit. Here are the photos I selected.
This image was shot in Blackburn on the path of the Leeds/ Liverpool canal.
It was shot at f/8 1/200 sec ISO 800 in manual mode with a kit 18-55mm lens at its widest aperture of 18mm. I then changed it to grey scale in Photoshop.
This is a photo of the gas tower in Blackburn.
I shot it contre-jour (against light). I positioned myself so the sun was behind one of the uprights of the tower so the sun wouldn't blow the whole picture out and I could keep the sky detail.
This was shot in aperture priority mode, at f/22, 1/1600 sec, ISO 400 with a focal length of 28mm on a kit 18-55mm lens.
Environmental portrait put a person in a place rather then a close crop of a face with not much in the background. The photo below taken by Arnold Newman is more environment than portrait.
Contre-jour meaning Against day.
Shooting into the sun can produce some cool effects like silhouette and cool skyscapes.
The photo below is a photo by me of the gas tower in Blackburn I purposely positioned the sun behind one of the uprights so the sun wouldn't blowout the whole image and enabled me to keep the detail in the sky.
The decisive moment is when you take the decision to press the shutter and catch the moment at just the right time.
The photo below by Henri Cartier Bresson is a good example of the decisive moment.
Juxtaposition " the fact of two things being seen or placed close together with contrasting effects.
The photo below is a prime example of this.
Visual Irony
"a. The use of words to express something different from and often opposite to their literal meaning.
b. An expression or utterance marked by a deliberate contrast between apparent and intended meaning.
c. A literary style employing such contrasts for humorous or rhetorical effect. See Synonyms at wit."
I think the photo above combines juxtaposition and visual irony to make this photo what it is.
The image below by Robert Doisneau is also a combination of juxtaposition and visual irony.
Weekly picture project.
The brief for this weeks picture project is a shallow depth of field portrait. Richard Tymon and myself went to Blackburn market and asked some of the stall holders if we could take there picture.
This is my entry.
My Gran by TAYLOR MADE PHOTOGRAPHY.
The image above was shot on aperture priority mode at f1.4 with a 50mm prime lens at 1/250, ISO 500.
This image was shot at f1.4, 1/320, ISO 500 with a 50mm prime lens.
I did a wedding shoot during this brief and chose some of the pictures I took for my project.
I have put a selection below.
Picture Format
Aspect Ratio
Landscape Rectangle eg: 2:3 2x3
Portrait Rectangle eg: 3:2 3x2
Square eg: 1:1 1x1
Panoramic Rectangle eg: 9:16 9x16
Hyper-focal distance
The hyper-focal distance is the closest distance at which a lens can be focused while keeping objects at infinity acceptably sharp. When the lens is focused at this distance, all objects at distances from half of the hyper-focal distance out to infinity will be acceptably sharp.
is focal length
is f-number (
for aperture diameter 
)
is the circle of confusion limit.- Using too high an f-stop can be counterproductive since this can soften an image due to an effect called "diffraction.
We looked at photos by Ansel Adams, Michael Kenna, Charlie Waite, Joe Cornish, David Ward, Walker Evans, John Davis, John Blakemore, Fay Godwin and Paul Hill.
Michael Kenna is an English born photographer that moved to San Francisco in the 80's. He is best known for his square black and white landscapes. He uses Hasselblad medium format or Holga cameras, this accounts for the square format of most of his photos.
Charlie Waite is an English landscape photographer, noted for his “painterly” approach in using light and shade.
Born in England, he worked in theatre and television for the first ten years of his professional life before moving to photography. He is noted for his square format images using a 6x6 Hasselblad.
Weekly picture project.
Landscape with a large depth of field.
Hyper-focal distance.
This is my entry.
When the boat comes in. by TAYLOR MADE PHOTOGRAPHY.
The image was shot at f/16, 1/100sec, ISO-200, with a 50mm prime lens.
This is Sunderland Point at low tide.
Hyper-focal distance.
This week we went on a road trip to master Hyper-focal distance.
We headed out to Silverdale first, then we stopped in Morcoumbe for lunch, then to Old Hesham before heading out to Sunderland Point.
Silverdale is a village and civil parish within the City of Lancaster in Lancashire, England. The village stands on Morecambe Bay, near the border with Cumbria, 4.5 miles (7 km) north west of Carnforth and 8.5 miles (14 km) north of Lancaster. The parish had a population of 1,545 recorded in the 2001 census.
Silverdale forms part of the Arnside and Silverdale Area of Outstanding Natural Beauty. The RSPB's Leighton Moss nature reserve is close to the village. The National Trust owns several pieces of land in the area. The former Tarmac-owned Trowbarrow quarry is now a SSSI and popular climbing location. The Lancashire Coastal Way footpath goes from Silverdale to Freckleton, and the Cumbria Coastal Way goes from Silverdale to Gretna.
It is served by nearby Silverdale railway station on the line from Lancaster to Barrow in Furness.
The Victorian novelist Elizabeth Gaskell (1810–1865) regularly holidayed in Silverdale and is said to have written some of her works in Lindeth Tower in the village; the Gaskell Memorial Hall in the centre of the village is named after her. The English poet Gordon Bottomley (1874–1948) lived in Silverdale in later life.
Here are a couple of the photos I took at Silverdale.
Above is a view across the sea to Heysham power station.
It was shot at f16, 1/2500, ISO 200 with a 50mm prime lens, manual mode.
Here we have Richard and Katy sat on the giants chair at Silverdal.
St Patrick's Chapel Old Heysham.
This was shot at f16, 1/320, ISO 3200, manual mode with a 50mm prime lens.
From Silverdale we went to Morcombe for a lunch pit stop before moving on to Old Heysham to see St Peters Church and its grave yard on the edge of the land, as well as St Patrick's chapel and the rock carved tombs.
St Patrick's Chapel, Heysham is a ruined building which stands on a headland above St Peter's Church, in Heysham, Lancashire, England (grid reference SD409616). It has been designated by English Heritage as a Grade I listed building, and is a Scheduled Ancient Monument.
Description
The ruin dates from the 8th or 9th century, and is built of sandstone rubble. The plan is a plain slightly tapering rectangle measuring 27 feet 6 inches (8 m) by 9 feet (3 m). Consolidation work was carried out in 1903 using stone tiles. Most of the south wall, the east gable wall, and the east part of the north wall are still present. The south wall contains a doorway with long-and-short jambs and an arch with concentric grooves. Near the chapel is a group of six rock-cut tombs and a separate group of two rock-cut tombs. Each group is listed at Grade I, and each tomb has an associated socket probably intended for a timber cross.
Archaeology
In 1977 an excavation took place in and to the south of the chapel, which dated the site to the late 6th or early 7th century. The buried skeletons uncovered were dated as no earlier than the 10th century. A further excavation took place in April 1993 on land below the stone coffins. No human bones were found but more than 1,200 artefacts were recovered, which showed that the site had been occupied about 12,000 years ago.
Stone carved tombs St Patrick's chapel.
The Lake District.
We went on a ride out to Lake Conisten in the Lake District our aim was to shoot by histogram.
An image histogram is a type of histogram that acts as a graphical representation of the tonal distribution in a digital image. It plots the number of pixels for each tonal value. By looking at the histogram for a specific image a viewer will be able to judge the entire tonal distribution at a glance.
Image histograms are present on many modern digital cameras. Photographers can use them as an aid to show the distribution of tones captured, and whether image detail has been lost to blown-out highlights or blacked-out shadows. The horizontal axis of the graph represents the tonal variations, while the vertical axis represents the number of pixels in that particular tone. The left side of the horizontal axis represents the black and dark areas, the middle represents medium grey and the right hand side represents light and pure white areas. The vertical axis represents the size of the area that is captured in each one of these zones. Thus, the histogram for a very dark image will have the majority of its data points on the left side and center of the graph. Conversely, the histogram for a very bright image with few dark areas and/or shadows will have most of its data points on the right side and center of the graph.
Below are some of the results.
Jack Frost by TAYLOR MADE PHOTOGRAPHY.
Shot at f/16, 1/60, ISO 160, focal length of 155m on a 70-300mm lens.
Lakescape by TAYLOR MADE PHOTOGRAPHY.
Shot at f16, 1/50, ISO 160, focal length of 22mm on a 18-55mm kit lens.
Nestled by TAYLOR MADE PHOTOGRAPHY.
Shot at f16, 1/8, ISO 160, focal length of 50mm on a 50mm prime lens.
Serenity by TAYLOR MADE PHOTOGRAPHY.
Shot at f16, 1/25, ISO 160, focal length of 50mm on a 50mm prime lens.
Tranquillity by TAYLOR MADE PHOTOGRAPHY.
Shot at f16, 1/40, ISO 160, focal length of 50mm on a 50mm prime lens.
Trickle by TAYLOR MADE PHOTOGRAPHY.
Shot at f16, 1/15, ISO 160, focal length of 130mm on a 70-300mm lens.
On my 50mm prime lens the focal length on my cropped sensor Nikon D700 is 75mm. The picture above entitled Trickle was shot at a focal length of 130mm which equates to 195mm on my camera. The difference is 1.5%
Lens variations
10mm fish eye ultra wide
15mm ultra wide
18mm wide
28mm wide standard
35mm standard
50mm portrait telephoto
85mm telephoto
135mm long telephoto
200mm extreme telephoto
Camera Sensor Size Chart
With a cropped sensor, any lens is
effectively 1.5-1.6 times what you'd get on a full frame. So 50mm on a Nikon D7000 is like a 75-80mm lens on a full frame camera.
Bokeh
The term comes from the Japanese word boke (暈け or ボケ), which means "blur" or "haze", or boke-aji (ボケ味), the "blur quality". The Japanese term boke is also used in the sense of a mental haze or senility. The term bokashi (暈かし) is related, meaning intentional blurring or gradation.
The English spelling bokeh was popularized in 1997 in Photo Techniques magazine, when Mike Johnston, the editor at the time, commissioned three papers on the topic for the March/April 1997 issue; he altered the spelling to suggest the correct pronunciation to English speakers, saying "it is properly pronounced with bo as in bone and ke as in Kenneth, with equal stress on either syllable". The spellings bokeh and boke have both been in use at least since 1996, when Merklinger had suggested "or Bokeh if you prefer." The term bokeh has appeared in photography books at least since 1998. It is sometimes pronounced /ˈboʊkə'/ (boke-uh).
Inverse square law.
The amount of light falling on a surface from a light source is called its illuminance. Suppose we measure the illuminance on a card held a certain distance from a light source, then hold it further away. As the same amount of light is spread over a large area, we can expect the illuminance to be less the further away the card is held. in fact the amount of light (illuminance on the card) falls with the square of the distance: this is the inverse square law.
Strictly, it applies only to small sources of radiation emitting evenly in all directions. In practise, we use it to calculate flashing light and exposure correction for long lens extensions.
Extract from Tom Ang, Fundamentals of modern photography.
ISO
ISO is actually a common short name for the International Organisation
The ISO setting on your camera is something that has carried over from film. Remember back in the ‘old days’ when you used to go and buy your rolls of film and you would buy film rated at 100, 200 or 400, maybe even 800 or 1600? Well that number refers to the film’s sensitivity to light. The higher the number, the more sensitive to light the film is. The ISO bit is from the standards for film sensitivity, and the number refers to it’s rating.
So what does sensitivity mean? Well a low sensitivity means that the film has to be exposed to light for a longer period of time than a film with a high sensitivity in order to properly expose the image. With a lower sensitivity you also get a better quality image too which is why you should always try and use the lowest sensitivity you can get away with. Let’s not get ahead of ourselves though, a little more explanation is required.
You might remember buying film for a sunny holiday and the shop assistant would recommend using a film rated at 100 or 200. If, on the other hand, you were going to be taking pictures indoors, then you might be recommended a higher sensitivity like 400 or maybe 800. If you used ISO100 film and decided to take some pictures indoors, chances are you would need to use the flash, or your pictures would come out quite dark. This is because the film’s sensitivity is so low that the shutter would need to be open for a long time to let enough light in. Your camera may not have had the features to allow it to keep the shutter open for long enough, which is why you ended up with dark pictures.
This was one of the problems with film. Once you’d loaded it into your camera, you were pretty much stuck with that film sensitivity for 24 or 36 shots.
Bring on digital cameras and you can now change the ISO setting for each shot you take. That is one of the big advantages of digital photography.
So why do you only get choices like 100, 200, 400, 800, 1600 and maybe 3200 when it’s digital, surely you could set 154 or 958 if you wanted it? It’s only electrical currents and circuits after all, not a piece of film. Well, in theory you could choose any setting you wanted, but imagine how tricky that would be. There are three settings which combine to give you the exposure, these are Aperture, Shutter Speed and ISO. Each one can be changed individually to allow you to set then to what you think will give you the perfect exposure, or you can let the camera set them for you to what it thinks is the perfect exposure for the conditions it can detect. Already with three different options, each having several settings themselves, the combinations are numerous, so keeping ISO to set values, which people will understand makes it a little less confusing.
Now, I mentioned quality too, and that better quality images are achieved with a lower ISO number. If, again, you go back to film days you may remember the sort of grainy effect some images had. Well this grain effect is what is introduced with a higher sensitivity film. Digital has it’s own grain effect with higher sensitivity and is known as Noise. Digital noise can be seen a sort of speckley effect in areas of similar colour, like skies or dark shadow areas. It is a subject of much discussion and the camera is often judged on the amount of noise it produces at these higher sensitivities. This is why you should always try and keep your ISO set to the lowest number, and use aperture and shutter speed to get the right exposure. If you can’t do that with aperture or shutter speed, move up to the next ISO setting and try again. One of the big selling points about digital cameras is how they handle the digital noise at higher ISO settings. The top pro level cameras from Nikon or Canon will have better control over noise than the cheaper models and this allows the pros (or anyone that can afford a Nikon D3 or Canon 1Ds for example) to get away with using a higher ISO and still getting good enough quality for print.
Why is a high ISO setting needed? Well for indoor work, where flash isn’t allowed and the light levels are fairly low. Or you can use it deliberately to get the grainy gritty feel to the image
The ISO setting on your camera is something that has carried over from film. Remember back in the ‘old days’ when you used to go and buy your rolls of film and you would buy film rated at 100, 200 or 400, maybe even 800 or 1600? Well that number refers to the film’s sensitivity to light. The higher the number, the more sensitive to light the film is. The ISO bit is from the standards for film sensitivity, and the number refers to it’s rating.
So what does sensitivity mean? Well a low sensitivity means that the film has to be exposed to light for a longer period of time than a film with a high sensitivity in order to properly expose the image. With a lower sensitivity you also get a better quality image too which is why you should always try and use the lowest sensitivity you can get away with. Let’s not get ahead of ourselves though, a little more explanation is required.
You might remember buying film for a sunny holiday and the shop assistant would recommend using a film rated at 100 or 200. If, on the other hand, you were going to be taking pictures indoors, then you might be recommended a higher sensitivity like 400 or maybe 800. If you used ISO100 film and decided to take some pictures indoors, chances are you would need to use the flash, or your pictures would come out quite dark. This is because the film’s sensitivity is so low that the shutter would need to be open for a long time to let enough light in. Your camera may not have had the features to allow it to keep the shutter open for long enough, which is why you ended up with dark pictures.
This was one of the problems with film. Once you’d loaded it into your camera, you were pretty much stuck with that film sensitivity for 24 or 36 shots.
Bring on digital cameras and you can now change the ISO setting for each shot you take. That is one of the big advantages of digital photography.
So why do you only get choices like 100, 200, 400, 800, 1600 and maybe 3200 when it’s digital, surely you could set 154 or 958 if you wanted it? It’s only electrical currents and circuits after all, not a piece of film. Well, in theory you could choose any setting you wanted, but imagine how tricky that would be. There are three settings which combine to give you the exposure, these are Aperture, Shutter Speed and ISO. Each one can be changed individually to allow you to set then to what you think will give you the perfect exposure, or you can let the camera set them for you to what it thinks is the perfect exposure for the conditions it can detect. Already with three different options, each having several settings themselves, the combinations are numerous, so keeping ISO to set values, which people will understand makes it a little less confusing.
Now, I mentioned quality too, and that better quality images are achieved with a lower ISO number. If, again, you go back to film days you may remember the sort of grainy effect some images had. Well this grain effect is what is introduced with a higher sensitivity film. Digital has it’s own grain effect with higher sensitivity and is known as Noise. Digital noise can be seen a sort of speckley effect in areas of similar colour, like skies or dark shadow areas. It is a subject of much discussion and the camera is often judged on the amount of noise it produces at these higher sensitivities. This is why you should always try and keep your ISO set to the lowest number, and use aperture and shutter speed to get the right exposure. If you can’t do that with aperture or shutter speed, move up to the next ISO setting and try again. One of the big selling points about digital cameras is how they handle the digital noise at higher ISO settings. The top pro level cameras from Nikon or Canon will have better control over noise than the cheaper models and this allows the pros (or anyone that can afford a Nikon D3 or Canon 1Ds for example) to get away with using a higher ISO and still getting good enough quality for print.
Why is a high ISO setting needed? Well for indoor work, where flash isn’t allowed and the light levels are fairly low. Or you can use it deliberately to get the grainy gritty feel to the image
Weekly picture project.
Vase of flowers.
Poison passion.
By TAYLOR MADE PHOTOGRAPHY.
This image was shot in the
studio on a product table. I placed an LED continuous light directly underneath
the table and one at the back. To create an over exposure I placed my camera on
a tripod directly in front of the objects and set it to f/4.5, 1/160 sec, ISO-
1000, focal length 50mm. The over exposure makes the bottles almost
non-existent in places and creates an aesthetic glow.
Weekly picture project Great British.
What can be more Great or more British than a Lancaster Bomber and a Union Jack.
Great British.
By TAYLOR MADE PHOTOGRAPHY.
Great British.
What could be more Great or British than a Union Jack
and a Lancaster Bomber. This
was shot at Southport Air show. The Lancaster Bomber flew past a Union Jack I
got the photo with them both in the same shot but decided to use a lager image of the plane. I then cut, cropped and overlaid
the two parts in Photoshop.
I shot the original image at f/22,
1/125sec, ISO-125, with a 70-300mm lens at 300mm, my cropped sensor camera
makes the focal length 450mm. The Lancaster Bomber appears quite sharp
against the blurred flag in the background which keeps the focus on the on the
Bomber. There’s a pleasing glint of sun on the under carriage that gives it an aesthetic
appeal.
Below are the original image's that I used to create the image above .
Metering Techniques
The key to mastering exposure metering is to understand that the settings should fit the range of bright to dark areas of the subject that your camera or film can comfortably record. Used correctly, widely differing kinds of metering will yield the same results. While TTL (through the lens) metering is used for the most part, the most accurate and consistent results will be obtained from using handheld metering.
Handheld meters are made as self-contained units to read the ambient or available light. Being independant of a camera, the reading can be made with very high precision and resolution- accuracy to one -tenth of a stop or better is no unusual. Accuracy is also maintained throughout the metering range -from the brightest to the darkest. Modern meters will also memorize several readings and make calculations such as the average of several settings. Overrides and matching ISO settings to individual preferences or camera behaviors can be programmed in. Modern handheld meters may also be able to read flash exposures.
In addition, handheld meters can work at extreme ranges -from the darkest situations, to the fiercest sunny day. Meters using a selenium -based cell are very small and do not need batteries. CDS (Cadmium Sulphide) cell meters are inexpensive, but metering using SPD (silicon photodiode) cells are highly accurate.
Incident and Reflected readings.
You can read light in two ways: measure the light reflected from the subject, or measure the light falling on the subject. If you choose the first, reflected light reading, you point the meter at the subject from the camera position. How much of the scene is measured depends on the meters acceptance angle: the majority of meters use a broad 40-120 degree acceptance angle. For precision work, we use a very tight 1-3 degree, also called a spot-meter reading. Spot meters call for great skill and care in use.
The alternative method requires you to place the meter so that it receives the same light as the subject. A translucent dome collects light over a large area to measure the light falling on the subject. This is called incident light metering and is good for dealing with complicated or high contrast situations. Handheld are ideally suited to incident light readings.
Tom Ang Fundamentals of modern photography.
The alternative method requires you to place the meter so that it receives the same light as the subject. A translucent dome collects light over a large area to measure the light falling on the subject. This is called incident light metering and is good for dealing with complicated or high contrast situations. Handheld are ideally suited to incident light readings.
Tom Ang Fundamentals of modern photography.
Rule of Thumb.
On a very sunny day, use an aperture of f/16 and a shutter time that is reciprocal of the ISO speed for an approximately correct exposure. For example if your using ISO 100, set a shutter time of 1/100sec and f/16; for ISO 400, set 1/400sec and an aperture of f/16.
Tom Ang Fundamentals of modern photography.
CMOS.
Complementary metal–oxide–semiconductor (CMOS) /ˈsiːmɒs/ is a technology for constructing integrated circuits. CMOS technology is used inmicroprocessors, microcontrollers, static RAM, and other digital logic circuits. CMOS technology is also used for several analog circuits such as image sensors (CMOS sensor), data converters, and highly integrated transceivers for many types of communication. Frank Wanlass patented CMOS in 1963 (US patent 3,356,858).
CMOS is also sometimes referred to as complementary-symmetry metal–oxide–semiconductor (or COS-MOS). The words "complementary-symmetry" refer to the fact that the typical digital design style with CMOS uses complementary and symmetrical pairs of p-type and n-type metal oxide semiconductor field effect transistors (MOSFETs) for logic functions.
Two important characteristics of CMOS devices are high noise immunity and low static power consumption. Since one transistor of the pair is always off, the series combination draws significant power only momentarily during switching between on and off states. Consequently, CMOS devices do not produce as much waste heat as other forms of logic, for example transistor–transistor logic (TTL) or NMOS logic, which normally have some standing current even when not changing state. CMOS also allows a high density of logic functions on a chip. It was primarily for this reason that CMOS became the most used technology to be implemented in VLSI chips.
The phrase "metal–oxide–semiconductor" is a reference to the physical structure of certain field-effect transistors, having a metal gate electrode placed on top of an oxide insulator, which in turn is on top of a semiconductor material. Aluminium was once used but now the material is polysilicon. Othermetal gates have made a comeback with the advent of high-k dielectric materials in the CMOS process, as announced by IBM and Intel for the 45 nanometre node and beyond.
Wikipedia.
Ken Grant.
Ken Grant was born in Liverpool in 1967. Since the 1980's he has photographed his contemporaries in the city and engaged in sustained projects both in the UK and wider Europe. A monograph of the Liverpool pictures, The Close Season, was published by Dewi Lewis Publishing in 2002. He continues to work on long term projects. Ken Grant's photographs are held in important collections of photography, including those of the Museum of Modern Art, New York, the Folkwang Museum Essen and other international public and private collections.
Ken Grants photography, Bank Holiday.
Christmas Card.
By TAYLOR MADE PHOTOGRAPHY
Shot at f/1.4, 1/50sec, ISO-100, with a 50mm prime lens. I used a 400 watt industrial flood lamp, defused with the center ring of a 5 in 1 fold up reflector. The bokeh in the back ground is provided by the lights on my Christmas tree and an extra set on a tripod between the bottle and the tree.
Contact sheet of the final 6 S,n,P picture project.
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