PETERS CAMERA HOUSE. PETERS CAMERA


Peters camera house. Best ip camera. Define slr digital camera



Peters Camera House





peters camera house






    peters
  • Peters is a British bakery chain.

  • Peters is a small lunar crater in the north-northeastern part of the Moon, lying in the gap between Neison to the west and Arnold to the southeast. Due south of Peters is the crater Moigno.

  • Decrease or fade gradually before coming to an end

  • Wilhelm Karl Hartwich Peters (April 22, 1815 in Koldenbuttel - April 20, 1883) was a German naturalist and explorer.





    camera
  • A chamber or round building

  • equipment for taking photographs (usually consisting of a lightproof box with a lens at one end and light-sensitive film at the other)

  • television camera: television equipment consisting of a lens system that focuses an image on a photosensitive mosaic that is scanned by an electron beam

  • A camera is a device that records/stores images. These images may be still photographs or moving images such as videos or movies. The term camera comes from the camera obscura (Latin for "dark chamber"), an early mechanism for projecting images. The modern camera evolved from the camera obscura.





    house
  • A family or family lineage, esp. a noble or royal one; a dynasty

  • contain or cover; "This box houses the gears"

  • firm: the members of a business organization that owns or operates one or more establishments; "he worked for a brokerage house"

  • A building for human habitation, esp. one that is lived in by a family or small group of people

  • The people living in such a building; a household

  • a dwelling that serves as living quarters for one or more families; "he has a house on Cape Cod"; "she felt she had to get out of the house"











peters camera house - Dance for




Dance for Camera 2


Dance for Camera 2



From a Butoh-inspired portrait of a demented aristocrat, to a sensual bedroom metamorphosis, to an intimate moment interrupted by a burst water pipe, this latest collection of award-winning dance films from around the world will "bewitch, bedazzle and bewilder." (Deirdre Towers, Dance on Camera Festival Director) For over five decades now international dancers and filmmakers have been creating these short experimental films, which generally have only been seen in festivals and on foreign television broadcasts. Dance for Camera 2 presents seven films that are among the most outstanding examples of a collaborative cinematic style that merges the dynamics of both dance and film. The art of dance film has been called, "Witty and hilarious! Where the allusiveness of dance meets the intimacy of film to create a new kind of magic!" (John Rockwell, New York Times) Critics say, "In short, everything the camera can do to and for dance: movement cut, spliced, dissolved, flattened, montaged and projected larger than life." (Village Voice) Dance For Camera 2 includes: Boy (5 minutes, Rosemary Lee/Peter Anderson, UK) Considered a dance film classic, this solo turns an ordinary boy into a superhero, as he moves with stealth and grace through a dramatic coastal landscape manipulating it and conjuring up his own imaginary world. Burst (5 minutes, Reynir Lyngdal/Katrin Hall, Iceland) A couple's intimate dance in the bedroom is interrupted by a sudden and unexpected burst water pipe. The water may be cool, but this couple burns up the screen. Cargo (4 minutes, Kelly Hargraves, Canada) One man's pit stop on the road of life, where he pauses to rest and contemplate whether to continue the journey. Case Studies from the Groat Center for Sleep Disorders (7 minutes, Mitchell Rose/Ashley Roland/Jamey Hampton, USA) A faux-scientific investigation of ASDICT (Adult Sleep Disorder Induced by Childhood Trauma). We are privileged to glimpse rare archival footage from the renowned (but fictitious) Groat Center for Sleep Disorders. Horses Never Lie (6 minutes, Kathi Prosser/Caroline Richardson, Canada) This sensual film delves into the mythic concept of metamorphosis: issues of birth, development, and renewal are ignited through movement. Motion Control (8 minutes, Liz Aggiss/Billy Cowie/David Anderson, UK) A superb cinematic experiment that explores the private reality of a glamorous and aging dancer. A bizarre journey of entrapment. The Duchess (15 minutes, Eric Koziol/Shinichi Momo-Koga, USA) An adaptation of a Butoh Dance / Action Theater work. The film is a psychological portrait of a lonely and demented aristocrat possessed with long repressed memories and conjured demons.










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Tri-Color Camera - George Eastman House




Tri-Color Camera - George  Eastman House





Tri-Color Camera (owned by Nickolas Muray)--Jos-Pe Farbenphoto GmbH, Hamburg, Germany---ca. 1925 -- gift of 3M Foundation ex- collection, Louis Walton Sipley. This camera was introduced in 1925 by Jos-Pe Farbenphoto GmbH of Hamburg, Germany, whose company name was derived from Josef Peter Welker, one of the firms owners. This fifteen-pound, all metal camera simultaneously produced three black-and-white negatives, each recording one of the three additive primary colors. Two internal beam splitters directed the image to separate 9 x 12-cm plate holders which were equipped with either a red, green, or blue filter. Matrices made from these negatives could be printed in succession with the complimentary subtractive primary dyes of cyan, magenta, and yellow, respectively, to produce a single-layer, full-color print. The negatives could also be used to make photo engraved plates for magazine and newspaper printing, This camera was used by Nickolas Muray, a respected celebrity portrait photographer and pioneer in color advertising photogtaphy, and has a huge 210mm Steinheil Cassar f/3 lens in a Compound shutter. This is part of Technology Collection in the International Museum of Photography and Film at the George Eastman House and Gardens, 900 East Ave in Rochester, NY.











Peter (Sports Basement)




Peter (Sports Basement)





I went out for a walk with our house guest, Peter, last Saturday and we stopped at a camera swap meet as well as at Rayko Photo. We then made our way to Sports Basement on Bryant Street so he could pick up a new pair of pants to replace a pair he'd torn earlier in his trip. While he shopped, I went to the post office across the street to drop a few things.

Upon my return, I looked for Peter on each of the several floors at Sports Basement, and along the way, one of the employees asked me if I needed some help. I told him I was merely lookinjg for my friend, then he asked about the camera. I told him about my rule and he told me he was about to take his break and head outside to chat with a friend of his who was standing nearby. He said he didn't like having his photograph taken and said if I could do it quickly, he'd oblige.

As I was lining up the shot, he posed, pointing at the sign on the door (seen here to his left). I asked him not to do that.









peters camera house








peters camera house




Julius Shulman: Architecture and its Photography






American photographer Julius Shulman's images of Californian architecture have burned themselves into the retina of the 20th century. A book on modern architecture without Shulman is inconceivable. Some of his architectural photographs, like the iconic shots of Frank Lloyd Wright's or Pierre Koenig's remarkable structures, have been published countless times. The brilliance of buildings like those by Charles Eames, as well as those of his close Friend, Richard Neutra, was first brought to light by Shulman's photography. The clarity of his work demanded that architectural photography had to be considered as an independent art form. Each Schulman image unites perception and understanding for the buildings and their place in the landscape. The precise compositions reveal not just the architectural ideas behind a building's surface, but also the visions and hopes of an entire age. A sense of humanity is always present in his work, even when the human figure is absent from the actual photographs. Today, a great many of the buildings documented by Shulman have disappeared or been crudely converted, but the thirst for his pioneering images is stronger than ever before. This is a vivid journey across six decades of great architecture and classic photography through the famously incomparable eyes of Julius Shulman.

Our contact with great architecture tends to be indirect, through representations. Few of us have seen the Taj Mahal, yet we all know exactly what it looks like. The useful act of photographing buildings can be an art, particularly when the photographer's presence seems to recede, and a great architectural shot suggests that you're seeing things as they are rather than through someone else's prism.
Julius Shulman has documented buildings in that seemingly transparent way for more than six decades. This meticulous and prolific craftsman was in the right place, California, at the right time, the golden age of West Coast modern residential architecture that spanned the 1930s to the 1960s. Richard Neutra helped him get his start, and he recorded early modernists such as Wright, Schindler, Soriano, Harris, Frey, Ain, Stone, Gropius, Kahn, and Neutra, as well as younger ones such as Goff, Lautner, Ellwood, Koenig, Drake, Killingsworth, Eames, Greene, Legoretta, and even early Frank Gehry. His view camera captured the glamour of hillside steel-and-glass houses cantilevered above the city lights, the serenity of desert vacation homes at dusk, and the clean-lined ingenuity of young architects working on modest budgets.
Shulman's text is a knotty quasi biography, but some good stories lurk there. This is a physically impressive book: its 300 large-format pages contain 500 superbly reproduced color and black-and-white photos that are worth more than the proverbial thousand words each. --John Pastier










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