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A1 - I did the Where's Waldo concept with the manual. Can you find the manual? How many pennies are in the picture? How many pens can you find?......
CClockwise from top left: Takumar 135mm f2.5, Vivitar 135mm f2.8, Pentax M 100mm f4 macro, SMC Takumar 55mm f1.8, Takumar A 28mm f2.8, Pentax A 50mm f1.7, Pentax A 35mm f2.8
The future of browsing type?
These are pages from the Photolettering’s One Line Manual of Styles from 1971. The fine grade typeface classification results in groupings that enable designers to easily compare typefaces with similar characteristics. Designers often have a feeling of about which characteristics a certain typographic element in their design should have. Italic, light, bold, narrow, wide … but that is just the start. What can a type browser do for a designer who is looking for an elegant italic with thin hairlines for a fashion magazine? a sturdy roman for an e-Book? a condensed sans for the ingredients section on a packaging design? a typeface that might fit the historical or artistic context of the subject? a fresh sans serif with large apertures for a signage project? a typeface with an x-height that is big enough to be read by people with low vision? a trendy humanist slab serif for the headings of a brochure? an italic for a series of medium level food products which cannot be ‘served’ with a fancy script? a typeface with angular serifs that fits the low-polygon craze?
Most current online type browsers do not enable designers to compare typefaces this way though. When comparing romans, italics or other styles, other family members usually are ‘in the way’. In many browsers it is impossible to directly compare condensed or italic styles, let alone a more precisely defined style. The typeface styles that might fulfill the criteria designers and their customers are looking for are usually hidden in alphabetical lists, family groupings and ‘special interest’ lists made up by users or meticulously edited staff-picks. Or even worse: classification names of which most designers forgot what they actually mean (let alone what they might be good for) after they left the art academy. Or from which they never heard when they were trained as an online-designer. Sure, these are all wonderful things that help designers to find what they need, but they are time-consuming and when it comes to the typical day-to-day designer jobs as sketched out above, one has to ‘know’ where the styles one is looking for might be hiding. I think that most designers do not prefer to think in names and the systems behind typeface classification, they are visual people who like to think that they take their decisions by intuition. As a result, designers either stay with families they know, or pick something that currently is ‘in the picture’. Thousands of excellent but lesser known typefaces are not being used, because designers are not aware of them or simply overlook them. The big question of type browsing today is how to help designers in picking the best in a way that suits their thinking.
Today, type browsing could (easily) be made much more advanced than the analogue Photolettering catalogue from 1971 shown here. The fine grain classification descriptions could be hidden behind sample characters. One would not have to go through the alphabetical index to find out the number of the page on which hard-to-classify-on-the-spot typeface may be shown. It could also be faster and more up to date. It could be combined with text, type size, line length and line feed defined by the user. It could allow the user to change the bandwidth of the grouping. Maybe with sliders or buttons that show sample characters that illustrate what ‘slant’ or ‘old style’ actually may look like etc. We have seen several attempts like the Type Navigator that went in this direction. A similar system has been implemented by Google fonts. And of course the FontBook is a huge step forward. Still, the possibilities of this catalogue have not yet made it into the current state of type browsing.
Who is going to take this challenge today?
Nikon D5100 with three Nikon manual focus lenses; 24 f:2 Ai-S, 55 f:3.5 Micro-Nikkor, & 105 f:2.5 Nikkor-P
More information on this recent pick-up can be found here: www.thegaygamer.com/2013/03/acquisition-149-binary-land-f...
K10D with battery grip, Rikenon XR 28mm f2.8 (mounted), Pentax SMC-M 50mm f1.7, 100mm f4 macro, 200mm f4. Lowepro Orion Trekker II.
This truly is a "hobby" kit. A seriously spec-ed camera with high quality lenses but at a very bargain basement price. If I am shooting pictures for "serious" reasons, such as the wedding we just shot, I use the AF lenses for their speed and accuracy. Also these lenses are so old they do not allow auto exposure either, they must be metered manually (shades of the K1000).
Matt now has the K10D with the 28 and 50 shown here as well as a Rikenon 135mm f2.8. He used it alot until the iPhone came along.
D7000
40mm Æ’/2.8 DX Micro
Manual Exposure
1/125th sec @ Æ’/5.0
ISO: Auto (2000)
AF-C
On September 25, I was asked back to the Aquarium of the Pacific to help lead another Photographer's night at the Aquarium. It was a BLAST! I met so many very nice people. We had full run of the place and were able to make some very fun images.
I think I found a near-perfect lens for the aquarium: 40mm Micro! For more info on why this lens works so well for this, see this shot and it's write up: www.flickr.com/photos/pva1964/6214071707/
I also found the way in which I will make all future images in an aquarium. Manual exposure + Auto ISO. For more info on the exposure, see the write up on this image: www.flickr.com/photos/pva1964/6214073437/
For details on controlling refections off the face of the tank, see this: www.flickr.com/photos/pva1964/6214073747/
Also see: www.flickr.com/groups/nikondigitallearningcenter/discuss/... for a my complete recap of tips and tricks for Aquarium shooting
Three panorama series from similar viewpoint. Note, this was originally stitched using Affinity Photo using medium quality jpegs.
Updated - replaced with high quality jpegs and stitched with MS ICE.
Panasonic GF7 with 12-32mm at 18mm.
P1110937_stitchpp
Originally published in 1976 this book contains the full corporate identity manuals of thirteen companies.
This hopefully is a video to aid those that are having a few issues with using Manual focus with the SX40 and other Canon Powershot cameras. As people on these Canon groups know I bang on that it is the best way to get macro shots esp and hopefully this goes some way to help to understand how to use it. Not the best quality vid but can't do much with the MB situation. Better quality on my youtube channel www.youtube.com/user/NightShooter87/videos
(for those who haven't played Tony Hawk Pro Skater incessantly, a "manual" is a skateboard technique, as demonstrated above.) (and yes, i DID put my life on hold to go take these photos. everything in its right place.)
2010 Suzuki Grand Vitara Owners Manual – After getting updates which are major 2009, the Suzuki Grand Vitara midsize SUV rolls into 2010 mainly unchanged. Nevertheless, the automaker does increase the Grand Vitara’s value quotient with the addition of a navigation system as standard ...
www.ownersmanualcar.com/2010-suzuki-grand-vitara-owners-m...
Ah the days when bras needed six step instructions plus washing instructions!
Years ago Josie and I found a suitcase of vintage bras on "big trash day".
They are all strange sizes (32F). Sadly there were no girdles in the suitcase. I love me some girdles.