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:
This is the second edition of a very popular book on DICOM that introduces this complex standard from a very practical point of view. It is aimed at a broad audience of radiologists, clinical administrators, information technologists, medical students, and lecturers. The book provides a gradual, down to earth introduction to DICOM, accompanied by an analysis of the most common problems associated with its implementation. Compared with the first edition, many improvements and additions have been made, based on feedback from readers. Whether you are running a teleradiology project or writing DICOM software, this book will provide you with clear and helpful guidance. It will prepare you for any DICOM projects or problem solving, and assist you in taking full advantage of multifaceted DICOM functionality.
Antoine de Baecque proposes a new historiography of cinema, exploring film as a visual archive of the twentieth century, as well as history's imprint on the cinematic image. Whether portraying events that occurred in the past or stories unfolding before their eyes, certain twentieth-century filmmakers used a particular mise-en-scene to give form to history, becoming in the process historians themselves. Historical events, in turn, irrupted into cinema. This double movement, which de Baecque terms the "cinematographic form of history," disrupts the very material of film, much like historical events disturb the narrative of human progress.
De Baecque defines, locates, and interprets cinematographic forms in seven distinct bodies of cinema: 1950s modern cinema and its conjuring of the morbid trauma of war; French New Wave and its style, which became the negative imprint of the malaise felt by young contemporaries of the Algerian War; post-Communist Russian films, or the "de-modern" works ofcatastroika; contemporary Hollywood films that attach themselves to the master fiction of 9/11; the characteristicmise en forme of filmmaker Sacha Guitry, who, in Si Versailles m'etait conte (1954), filmed French history from inside its chateau; the work of Jean-Luc Godard, who evoked history through his own museum memory of the twentieth century; and the achievements of Peter Watkins, the British filmmaker who reported on history like a war correspondent. De Baecque's introduction clearly lays out his theoretical framework, a profoundly brilliant conceptualization of the many ways cinema and history relate.
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