This reissued third edition of A User's Guide to View Camera introduces photographers to large-format cameras, covering their use with both film and digital capture. Readers will learn the anatomy of cameras with a separately adjustable back or front, the proper techniques for using view cameras, and how to take care of large-format cameras-all through straightforward and practical instruction and abundant visual examples. This latest edition features:
Continuing the explorations begun in the first Produsing Theory volume, this book provides a site at which varied theories - some still emerging - can intersect and shine a light into the spaces between what previously had been neatly separated and discrete components of media systems. In some settings, division by audience, content, and production settings remains useful, but this volume, like the first, is all about the interstices. Contributors reflect varied perspectives in their approaches to the spaces formed as a result of rapidly developing and swiftly deploying new communications technologies and social software. They shine multiple spotlights into the intersection of audiences and production, providing a guide toward a nuanced understanding of the interstitial spaces.
In Projecting a Camera, film theorist Edward Branigan offers a groundbreaking approach to understanding film theory. Why, for example, does a camera move? What does a camera know? (And when does it know it?) What is the camera's relation to the subject during long static shots? What happens when the screen is blank? Through a wide-ranging engagement with Wittgenstein and theorists of film, he offers one of the most fully developed understandings of the ways in which the camera operates in film.
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