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The elements of photography : understanding and creating sophisticated images / / Angela Faris Belt
| The elements of photography : understanding and creating sophisticated images / / Angela Faris Belt |
| Autore | Faris-Belt Angela |
| Edizione | [2nd ed.] |
| Pubbl/distr/stampa | Waltham, Mass. : , : Focal Press, , 2012 |
| Descrizione fisica | 1 online resource (441 p.) |
| Disciplina | 770 |
| Soggetto topico |
Composition (Photography)
Visual perception Photographs |
| Soggetto genere / forma | Electronic books. |
| ISBN |
1-136-10341-4
1-136-10342-2 1-283-20960-8 9786613209603 0-240-81516-5 |
| Formato | Materiale a stampa  |
| Livello bibliografico | Monografia |
| Lingua di pubblicazione | eng |
| Nota di contenuto | Machine generated contents note: Framing and Borders; Using Multiple Frames; Focus, Apertures and Depth of Field; Shutter Speeds: Time and Motion; Image Surface: Tint, Tone and Texture. |
| Record Nr. | UNINA-9910461559703321 |
Faris-Belt Angela
|
||
| Waltham, Mass. : , : Focal Press, , 2012 | ||
| Materiale a stampa | ||
| Lo trovi qui: Univ. Federico II | ||
| ||
The elements of photography : understanding and creating sophisticated images / / Angela Faris Belt
| The elements of photography : understanding and creating sophisticated images / / Angela Faris Belt |
| Autore | Faris-Belt Angela |
| Edizione | [2nd ed.] |
| Pubbl/distr/stampa | Waltham, Mass. : , : Focal Press, , 2012 |
| Descrizione fisica | 1 online resource (441 p.) |
| Disciplina | 770 |
| Soggetto topico |
Composition (Photography)
Visual perception Photographs |
| ISBN |
1-136-10341-4
1-136-10342-2 1-283-20960-8 9786613209603 0-240-81516-5 |
| Formato | Materiale a stampa |
| Livello bibliografico | Monografia |
| Lingua di pubblicazione | eng |
| Nota di contenuto | Machine generated contents note: Framing and Borders; Using Multiple Frames; Focus, Apertures and Depth of Field; Shutter Speeds: Time and Motion; Image Surface: Tint, Tone and Texture. |
| Record Nr. | UNINA-9910789695003321 |
|
Faris-Belt Angela
|
||
| Waltham, Mass. : , : Focal Press, , 2012 | ||
| Materiale a stampa | ||
| Lo trovi qui: Univ. Federico II | ||
| ||
The elements of photography : understanding and creating sophisticated images / / Angela Faris Belt
| The elements of photography : understanding and creating sophisticated images / / Angela Faris Belt |
| Autore | Faris-Belt Angela |
| Edizione | [2nd ed.] |
| Pubbl/distr/stampa | Waltham, Mass., : Focal Press, 2011 |
| Descrizione fisica | 1 online resource (441 p.) |
| Disciplina | 770 |
| Soggetto topico |
Composition (Photography)
Visual perception Photographs |
| ISBN |
1-136-10341-4
1-136-10342-2 1-283-20960-8 9786613209603 0-240-81516-5 |
| Formato | Materiale a stampa |
| Livello bibliografico | Monografia |
| Lingua di pubblicazione | eng |
| Nota di contenuto | Machine generated contents note: Framing and Borders; Using Multiple Frames; Focus, Apertures and Depth of Field; Shutter Speeds: Time and Motion; Image Surface: Tint, Tone and Texture. |
| Record Nr. | UNINA-9910809540103321 |
|
Faris-Belt Angela
|
||
| Waltham, Mass., : Focal Press, 2011 | ||
| Materiale a stampa | ||
| Lo trovi qui: Univ. Federico II | ||
| ||
Picture composition for film and television / / Peter Ward
| Picture composition for film and television / / Peter Ward |
| Autore | Ward Peter <1936-, > |
| Edizione | [2nd ed.] |
| Pubbl/distr/stampa | Oxford ; ; Boston : , : Focal Press, , 2003 |
| Descrizione fisica | 1 online resource (281 p.) |
| Disciplina |
778.53
778.53 21 |
| Soggetto topico |
Cinematography
Motion pictures - Production and direction Television - Production and direction Composition (Photography) |
| Soggetto genere / forma | Electronic books. |
| ISBN |
1-136-04505-8
1-136-04506-6 1-281-01252-1 9786611012526 0-08-049769-1 |
| Formato | Materiale a stampa |
| Livello bibliografico | Monografia |
| Lingua di pubblicazione | eng |
| Nota di contenuto |
Picture Composition for Film and Television; Copyright; Contents; Preface; 1 Invisible technique; Learning the ropes; A moving photograph; Continuity cinema; The shot; The creation of 'invisible' technique; Standard camerwork conventions; Realistic representation; Mechanical reproduction; Framing a shot; Composition; Does the shot work?; Intuition; 'I see what you mean!'; Why composition is important; Control of composition; Visual design techniques; Cultural influences; Changing fashions; Summary; 2 Alternative technique; Jump cuts; Alternatives; It's magic; Realism and imagination
The film moment is always nowWhy people dislike the rejection of standard conventions; Storytelling; Don't wake me up; Definition of alternative conventions; Conventions; Summary; 3 The lens, the eye and perception; Introduction; The imprint of the lens; The eye and a lens; Size constancy; How do we understand what we are looking at?; Characteristics of perception; Summary; 4 The lens and perspective; Perception and depth; Depth indicators and their relationship to the lens; Focal length; Angle of view; Depth-of-field; fno; Zoom; Focus; The structural skeleton of a shot Horizon line and camera height as a compositional deviceControlling space with choice of lens angle/camera distance; The internal space of a shot; Production style and lens angle; Estimating distance; Accentuating depth; Summary; 5 Visual design; Introduction; Movement; Sound; Controlling composition; Design techniques; Grouping and organization; Balance; Figure and ground; Shape; Line; Rhythm and visual beat; Pattern; Interest; Direction; Colour; Scale; Abstraction; Understanding an image; Summary; 6 Frame; Composition and the frame; Frame - an invisible focus of power; Static viewpoint A hard cut-offLimited depth and perspective indicators; Monochrome; The edge of frame as a reference; Frames within frames; A second frame; Frame and divided interest; Summary; 7 The shape of the screen; Aspect ratio; The shape of the screen and composition; Viewfinder as an editing tool; Could it have been different?; The invention of a world format standard; Widescreen returns; Design of the TV aspect ratio; HDTV; The need for a universal video format; 16:9 television widescreen; A reasonable compromise between competing aspect ratios; The divine proportion Widescreen - the shape of a banknoteSummary of film and television formats mentioned; 8 Widescreen composition and film; Finding ways to compose for the new shape; Widescreen advantages; Selling off the redundant format; Pan and scan; Cinematographers alarmed; Boom in shot; The growth of multiplexes; Common topline and super 35; Summary; 9 Widescreen composition and TV; Introduction; Letterboxing; Aspect ratio conversion; Protect and save; Shooting for two formats; Composing for 16:9; Fidgety zooms; Transitional period; The viewer takes control; Inserting 4:3 material into a 16:9 production Compilation programmes |
| Record Nr. | UNINA-9910457511003321 |
|
Ward Peter <1936-, >
|
||
| Oxford ; ; Boston : , : Focal Press, , 2003 | ||
| Materiale a stampa | ||
| Lo trovi qui: Univ. Federico II | ||
| ||
Picture composition for film and television / / Peter Ward
| Picture composition for film and television / / Peter Ward |
| Autore | Ward Peter <1936-, > |
| Edizione | [2nd ed.] |
| Pubbl/distr/stampa | Oxford ; ; Boston : , : Focal Press, , 2003 |
| Descrizione fisica | 1 online resource (281 p.) |
| Disciplina |
778.53
778.53 21 |
| Soggetto topico |
Cinematography
Motion pictures - Production and direction Television - Production and direction Composition (Photography) |
| ISBN |
1-136-04505-8
1-136-04506-6 1-281-01252-1 9786611012526 0-08-049769-1 |
| Formato | Materiale a stampa |
| Livello bibliografico | Monografia |
| Lingua di pubblicazione | eng |
| Nota di contenuto |
Picture Composition for Film and Television; Copyright; Contents; Preface; 1 Invisible technique; Learning the ropes; A moving photograph; Continuity cinema; The shot; The creation of 'invisible' technique; Standard camerwork conventions; Realistic representation; Mechanical reproduction; Framing a shot; Composition; Does the shot work?; Intuition; 'I see what you mean!'; Why composition is important; Control of composition; Visual design techniques; Cultural influences; Changing fashions; Summary; 2 Alternative technique; Jump cuts; Alternatives; It's magic; Realism and imagination
The film moment is always nowWhy people dislike the rejection of standard conventions; Storytelling; Don't wake me up; Definition of alternative conventions; Conventions; Summary; 3 The lens, the eye and perception; Introduction; The imprint of the lens; The eye and a lens; Size constancy; How do we understand what we are looking at?; Characteristics of perception; Summary; 4 The lens and perspective; Perception and depth; Depth indicators and their relationship to the lens; Focal length; Angle of view; Depth-of-field; fno; Zoom; Focus; The structural skeleton of a shot Horizon line and camera height as a compositional deviceControlling space with choice of lens angle/camera distance; The internal space of a shot; Production style and lens angle; Estimating distance; Accentuating depth; Summary; 5 Visual design; Introduction; Movement; Sound; Controlling composition; Design techniques; Grouping and organization; Balance; Figure and ground; Shape; Line; Rhythm and visual beat; Pattern; Interest; Direction; Colour; Scale; Abstraction; Understanding an image; Summary; 6 Frame; Composition and the frame; Frame - an invisible focus of power; Static viewpoint A hard cut-offLimited depth and perspective indicators; Monochrome; The edge of frame as a reference; Frames within frames; A second frame; Frame and divided interest; Summary; 7 The shape of the screen; Aspect ratio; The shape of the screen and composition; Viewfinder as an editing tool; Could it have been different?; The invention of a world format standard; Widescreen returns; Design of the TV aspect ratio; HDTV; The need for a universal video format; 16:9 television widescreen; A reasonable compromise between competing aspect ratios; The divine proportion Widescreen - the shape of a banknoteSummary of film and television formats mentioned; 8 Widescreen composition and film; Finding ways to compose for the new shape; Widescreen advantages; Selling off the redundant format; Pan and scan; Cinematographers alarmed; Boom in shot; The growth of multiplexes; Common topline and super 35; Summary; 9 Widescreen composition and TV; Introduction; Letterboxing; Aspect ratio conversion; Protect and save; Shooting for two formats; Composing for 16:9; Fidgety zooms; Transitional period; The viewer takes control; Inserting 4:3 material into a 16:9 production Compilation programmes |
| Record Nr. | UNINA-9910784573203321 |
|
Ward Peter <1936-, >
|
||
| Oxford ; ; Boston : , : Focal Press, , 2003 | ||
| Materiale a stampa | ||
| Lo trovi qui: Univ. Federico II | ||
| ||
Picture composition for film and television / / Peter Ward
| Picture composition for film and television / / Peter Ward |
| Autore | Ward Peter <1936-> |
| Edizione | [2nd ed.] |
| Pubbl/distr/stampa | Oxford ; ; Boston, : Focal Press, 2003 |
| Descrizione fisica | 1 online resource (281 p.) |
| Disciplina |
778.53
778.53 21 |
| Soggetto topico |
Cinematography
Motion pictures - Production and direction Television - Production and direction Composition (Photography) |
| ISBN |
1-136-04505-8
1-136-04506-6 1-281-01252-1 9786611012526 0-08-049769-1 |
| Formato | Materiale a stampa |
| Livello bibliografico | Monografia |
| Lingua di pubblicazione | eng |
| Nota di contenuto |
Picture Composition for Film and Television; Copyright; Contents; Preface; 1 Invisible technique; Learning the ropes; A moving photograph; Continuity cinema; The shot; The creation of 'invisible' technique; Standard camerwork conventions; Realistic representation; Mechanical reproduction; Framing a shot; Composition; Does the shot work?; Intuition; 'I see what you mean!'; Why composition is important; Control of composition; Visual design techniques; Cultural influences; Changing fashions; Summary; 2 Alternative technique; Jump cuts; Alternatives; It's magic; Realism and imagination
The film moment is always nowWhy people dislike the rejection of standard conventions; Storytelling; Don't wake me up; Definition of alternative conventions; Conventions; Summary; 3 The lens, the eye and perception; Introduction; The imprint of the lens; The eye and a lens; Size constancy; How do we understand what we are looking at?; Characteristics of perception; Summary; 4 The lens and perspective; Perception and depth; Depth indicators and their relationship to the lens; Focal length; Angle of view; Depth-of-field; fno; Zoom; Focus; The structural skeleton of a shot Horizon line and camera height as a compositional deviceControlling space with choice of lens angle/camera distance; The internal space of a shot; Production style and lens angle; Estimating distance; Accentuating depth; Summary; 5 Visual design; Introduction; Movement; Sound; Controlling composition; Design techniques; Grouping and organization; Balance; Figure and ground; Shape; Line; Rhythm and visual beat; Pattern; Interest; Direction; Colour; Scale; Abstraction; Understanding an image; Summary; 6 Frame; Composition and the frame; Frame - an invisible focus of power; Static viewpoint A hard cut-offLimited depth and perspective indicators; Monochrome; The edge of frame as a reference; Frames within frames; A second frame; Frame and divided interest; Summary; 7 The shape of the screen; Aspect ratio; The shape of the screen and composition; Viewfinder as an editing tool; Could it have been different?; The invention of a world format standard; Widescreen returns; Design of the TV aspect ratio; HDTV; The need for a universal video format; 16:9 television widescreen; A reasonable compromise between competing aspect ratios; The divine proportion Widescreen - the shape of a banknoteSummary of film and television formats mentioned; 8 Widescreen composition and film; Finding ways to compose for the new shape; Widescreen advantages; Selling off the redundant format; Pan and scan; Cinematographers alarmed; Boom in shot; The growth of multiplexes; Common topline and super 35; Summary; 9 Widescreen composition and TV; Introduction; Letterboxing; Aspect ratio conversion; Protect and save; Shooting for two formats; Composing for 16:9; Fidgety zooms; Transitional period; The viewer takes control; Inserting 4:3 material into a 16:9 production Compilation programmes |
| Record Nr. | UNINA-9910827619703321 |
|
Ward Peter <1936->
|
||
| Oxford ; ; Boston, : Focal Press, 2003 | ||
| Materiale a stampa | ||
| Lo trovi qui: Univ. Federico II | ||
| ||
Reframing photography : theory and practice / / Rebekah Modrak ; with Bill Anthes
| Reframing photography : theory and practice / / Rebekah Modrak ; with Bill Anthes |
| Autore | Modrak Rebekah |
| Pubbl/distr/stampa | Abingdon, Oxon ; ; New York, N.Y. : , : Routledge, , 2011 |
| Descrizione fisica | 1 online resource (554 p.) |
| Disciplina | 771 |
| Altri autori (Persone) | AnthesBill |
| Soggetto topico |
Photography
Composition (Photography) |
| Soggetto genere / forma | Electronic books. |
| ISBN |
1-136-94238-6
1-283-03857-9 9786613038579 0-203-84759-8 |
| Formato | Materiale a stampa |
| Livello bibliografico | Monografia |
| Lingua di pubblicazione | eng |
| Nota di contenuto | pt. 1. Vision -- pt. 2. Light and shadow -- pt. 3. Reproductive processes -- pt. 4. Editing, presentation and evaluation. |
| Record Nr. | UNINA-9910458965403321 |
|
Modrak Rebekah
|
||
| Abingdon, Oxon ; ; New York, N.Y. : , : Routledge, , 2011 | ||
| Materiale a stampa | ||
| Lo trovi qui: Univ. Federico II | ||
| ||
Reframing photography : theory and practice / / Rebekah Modrak ; with Bill Anthes
| Reframing photography : theory and practice / / Rebekah Modrak ; with Bill Anthes |
| Autore | Modrak Rebekah |
| Pubbl/distr/stampa | Abingdon, Oxon ; ; New York, N.Y. : , : Routledge, , 2011 |
| Descrizione fisica | 1 online resource (554 p.) |
| Disciplina | 771 |
| Altri autori (Persone) | AnthesBill |
| Soggetto topico |
Photography
Composition (Photography) |
| ISBN |
1-136-94237-8
1-136-94238-6 1-283-03857-9 9786613038579 0-203-84759-8 |
| Classificazione | 21.40 |
| Formato | Materiale a stampa |
| Livello bibliografico | Monografia |
| Lingua di pubblicazione | eng |
| Nota di contenuto | pt. 1. Vision -- pt. 2. Light and shadow -- pt. 3. Reproductive processes -- pt. 4. Editing, presentation and evaluation. |
| Record Nr. | UNINA-9910791854503321 |
|
Modrak Rebekah
|
||
| Abingdon, Oxon ; ; New York, N.Y. : , : Routledge, , 2011 | ||
| Materiale a stampa | ||
| Lo trovi qui: Univ. Federico II | ||
| ||
Reframing photography : theory and practice / / Rebekah Modrak ; with Bill Anthes
| Reframing photography : theory and practice / / Rebekah Modrak ; with Bill Anthes |
| Autore | Modrak Rebekah |
| Pubbl/distr/stampa | Abingdon, Oxon ; ; New York, N.Y. : , : Routledge, , 2011 |
| Descrizione fisica | 1 online resource (554 p.) |
| Disciplina | 771 |
| Altri autori (Persone) | AnthesBill |
| Soggetto topico |
Photography
Composition (Photography) |
| ISBN |
1-136-94237-8
1-136-94238-6 1-283-03857-9 9786613038579 0-203-84759-8 |
| Classificazione | 21.40 |
| Formato | Materiale a stampa |
| Livello bibliografico | Monografia |
| Lingua di pubblicazione | eng |
| Nota di contenuto | pt. 1. Vision -- pt. 2. Light and shadow -- pt. 3. Reproductive processes -- pt. 4. Editing, presentation and evaluation. |
| Record Nr. | UNINA-9910816247803321 |
|
Modrak Rebekah
|
||
| Abingdon, Oxon ; ; New York, N.Y. : , : Routledge, , 2011 | ||
| Materiale a stampa | ||
| Lo trovi qui: Univ. Federico II | ||
| ||
