Filed under: Graphics 1 & 2
Graphic CommunicationsVisual communications has fallen under many different names over the years, including commercial art, graphic design, advertising design, magazine and newspaper layout, paste up and production, printing, graphic arts and graphic communications. The bottom line is if you want to learn how to create, produce and reproduce visual graphics that communicate to an audience, then graphic communications is for you. TMCC’s graphic communications program teaches the theories and applications necessary to get a job in this exciting field.And, with the development of Web site design, multimedia/digital video production, interactivity 2D and 3D animation, the program has grown to include many of these areas called digital media. The program uses the most popular graphics software, including InDesign, Illustrator, Photoshop, Acrobat, Dreamweaver, Fireworks, Flash, Director, Final Cut Pro and Cinema 4D software. Our computer labs are equipped with the latest PowerMac G4 and G5 computers with support scanners, black and white and color printers, and a complete prepress/print shop facility.
Filed under: Graphics 1 & 2
Graphic CommunicationsVisual communications has fallen under many different names over the years, including commercial art, graphic design, advertising design, magazine and newspaper layout, paste up and production, printing, graphic arts and graphic communications. The bottom line is if you want to learn how to create, produce and reproduce visual graphics that communicate to an audience, then graphic communications is for you. TMCC’s graphic communications program teaches the theories and applications necessary to get a job in this exciting field.And, with the development of Web site design, multimedia/digital video production, interactivity 2D and 3D animation, the program has grown to include many of these areas called digital media. The program uses the most popular graphics software, including InDesign, Illustrator, Photoshop, Acrobat, Dreamweaver, Fireworks, Flash, Director, Final Cut Pro and Cinema 4D software. Our computer labs are equipped with the latest PowerMac G4 and G5 computers with support scanners, black and white and color printers, and a complete prepress/print shop facility.
Filed under: Graphics 1 & 2
Graphic CommunicationsVisual communications has fallen under many different names over the years, including commercial art, graphic design, advertising design, magazine and newspaper layout, paste up and production, printing, graphic arts and graphic communications. The bottom line is if you want to learn how to create, produce and reproduce visual graphics that communicate to an audience, then graphic communications is for you. TMCC’s graphic communications program teaches the theories and applications necessary to get a job in this exciting field.And, with the development of Web site design, multimedia/digital video production, interactivity 2D and 3D animation, the program has grown to include many of these areas called digital media. The program uses the most popular graphics software, including InDesign, Illustrator, Photoshop, Acrobat, Dreamweaver, Fireworks, Flash, Director, Final Cut Pro and Cinema 4D software. Our computer labs are equipped with the latest PowerMac G4 and G5 computers with support scanners, black and white and color printers, and a complete prepress/print shop facility.
Filed under: Graphics 1 & 2
Graphic CommunicationsVisual communications has fallen under many different names over the years, including commercial art, graphic design, advertising design, magazine and newspaper layout, paste up and production, printing, graphic arts and graphic communications. The bottom line is if you want to learn how to create, produce and reproduce visual graphics that communicate to an audience, then graphic communications is for you. TMCC’s graphic communications program teaches the theories and applications necessary to get a job in this exciting field.And, with the development of Web site design, multimedia/digital video production, interactivity 2D and 3D animation, the program has grown to include many of these areas called digital media. The program uses the most popular graphics software, including InDesign, Illustrator, Photoshop, Acrobat, Dreamweaver, Fireworks, Flash, Director, Final Cut Pro and Cinema 4D software. Our computer labs are equipped with the latest PowerMac G4 and G5 computers with support scanners, black and white and color printers, and a complete prepress/print shop facility.
Filed under: Photography
Alyssa Eliopoulos
Star Streaksa tutorial by Philip Greenspun |
There I was, up in the White Mountains of California, 10,500′ high in the
Ancient
Bristlecone
Pine
Forest. The tree in the foreground is probably 3,000 years old. They grow slowly in the dry climate that results from being in the rain shadow of the
Sierra
Mountains across the
Owens
Valley to the east. I stuck my Nikon 6006 on a tripod facing east, mounted a 60/2.8 macro lens (I think), and set the aperture for f/4 (ISO 50 color negative film). I opened the shutter with a cable release and screwed down the lock. Then I went to sleep for six hours. As the morning began to brighten, around 4:30, I unscrewed the cable release. No clunk. No motor drive whirr. It seemed that the lithium battery had died. I put a lens cap onto the front of the lens to block stray light and inserted a new battery. The shutter/mirror thunked closed and the camera wound up to the next frame. I then repeated this procedure with a Nikon 8008 on an adjacent tripod. The Nikon had been loaded with my favorite landscape film, Fuji Velvia. Due to the higher contrast of slide film, though, the resulting image was much less interesting. Color negative film compresses the contrast in the original scene, so faint star trails were recorded right alongside the bright ones. Both the slide and negative films recorded brilliant colors where my eye could see none. Here’s my advice to others interested in star trail photography:
- Use a tripod. Of course, if you’re serious about landscape photography, you already have one. Big heavy stable ones are the best if you’re looking at 6 hours of wind resistance.
- Use color negative film. Ektar 25 is the best (f/2.8 or f/4 is probably the right exposure).
Fuji 100 would be my second choice (at f/5.6 or f/8). I used Afga Ultra 50 at f/4 but I don’t really like this film in general (explained in my more general film recommendations). - A moon-free night is best. Failing that, point the camera in a part of the sky where the moon won’t be.
- Use a manual camera, e.g., Nikon FM, F3, (F4 can do it also, but I think the camera sucks). If your only camera is a fancy battery-dependent marvel, make sure you have fresh batteries available to make it close (and hope that it doesn’t somehow close itself prematurely; if you aren’t using a Nikon 8008 or 6006, you might want to test first).
How to photograph the moon
If you can’t find a moon-free night then maybe you should try to get a good photo of the moon itself… Start with a tripod and a 200mm or longer lens. Your exposure should be f/11 and a shutter speed of 1/film-speed (e.g., f/11 and 1/400th of a second if you are using ISO 400 film). The moon is illuminated by the full light of the sun, attenuated to some extent by our atmosphere. You could say the same about your friend’s face on a sunny day, in which case you’d apply the “sunny 16 rule” and set f/16 and 1/film-speed. Why the discrepancy? The moon is made of darkish gray rock. But we see it at night when are eyes are adjusted to the dark so it looks rather white. In order to have the moon appear white on film, you need to overexpose it by 1 f-stop, i.e., use f/11 instead of f/16.
Filed under: Photography
Alyssa Eliopoulos
Star Streaksa tutorial by Philip Greenspun |
There I was, up in the White Mountains of California, 10,500′ high in the
Ancient
Bristlecone
Pine
Forest. The tree in the foreground is probably 3,000 years old. They grow slowly in the dry climate that results from being in the rain shadow of the
Sierra
Mountains across the
Owens
Valley to the east. I stuck my Nikon 6006 on a tripod facing east, mounted a 60/2.8 macro lens (I think), and set the aperture for f/4 (ISO 50 color negative film). I opened the shutter with a cable release and screwed down the lock. Then I went to sleep for six hours. As the morning began to brighten, around 4:30, I unscrewed the cable release. No clunk. No motor drive whirr. It seemed that the lithium battery had died. I put a lens cap onto the front of the lens to block stray light and inserted a new battery. The shutter/mirror thunked closed and the camera wound up to the next frame. I then repeated this procedure with a Nikon 8008 on an adjacent tripod. The Nikon had been loaded with my favorite landscape film, Fuji Velvia. Due to the higher contrast of slide film, though, the resulting image was much less interesting. Color negative film compresses the contrast in the original scene, so faint star trails were recorded right alongside the bright ones. Both the slide and negative films recorded brilliant colors where my eye could see none. Here’s my advice to others interested in star trail photography:
- Use a tripod. Of course, if you’re serious about landscape photography, you already have one. Big heavy stable ones are the best if you’re looking at 6 hours of wind resistance.
- Use color negative film. Ektar 25 is the best (f/2.8 or f/4 is probably the right exposure).
Fuji 100 would be my second choice (at f/5.6 or f/8). I used Afga Ultra 50 at f/4 but I don’t really like this film in general (explained in my more general film recommendations). - A moon-free night is best. Failing that, point the camera in a part of the sky where the moon won’t be.
- Use a manual camera, e.g., Nikon FM, F3, (F4 can do it also, but I think the camera sucks). If your only camera is a fancy battery-dependent marvel, make sure you have fresh batteries available to make it close (and hope that it doesn’t somehow close itself prematurely; if you aren’t using a Nikon 8008 or 6006, you might want to test first).
How to photograph the moon
If you can’t find a moon-free night then maybe you should try to get a good photo of the moon itself… Start with a tripod and a 200mm or longer lens. Your exposure should be f/11 and a shutter speed of 1/film-speed (e.g., f/11 and 1/400th of a second if you are using ISO 400 film). The moon is illuminated by the full light of the sun, attenuated to some extent by our atmosphere. You could say the same about your friend’s face on a sunny day, in which case you’d apply the “sunny 16 rule” and set f/16 and 1/film-speed. Why the discrepancy? The moon is made of darkish gray rock. But we see it at night when are eyes are adjusted to the dark so it looks rather white. In order to have the moon appear white on film, you need to overexpose it by 1 f-stop, i.e., use f/11 instead of f/16.
