By Melissa Harris
Aperture factor 201 (Winter 2010) contains: Portfolios and Essays from Lynsey Addario and Elizabeth Rubin, Aïm Deüelle Lüski and Ariella Azoulay, Lucia Nimcova and Clare Butcher, Willy Ronis and Carole Naggar, Ben Sloat, Axel Hoedt and Magdalene Keaney, Roger Ballen and Walter Guadagnini.
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Extra info for Aperture - Winter 2010
A 24mm lens has an angle of view of about 84 degrees, whereas a 35mm lens’s view is approximately 63 degrees. 32-55 3/11/05 11:53 AM Page 43 The Camera Lens 4 Focal Length and Angle of View 20mm lens (94º angle of view) 35mm lens (63º angle of view) 50mm lens (46º angle of view) 105mm lens (23º angle of view) 200mm lens (12º angle of view) 300mm lens (8º angle of view) The focal length of a lens determines its angle of view—how much of a scene the lens sees. Shortfocal-length lenses, such as 20mm, are called wide-angle lenses because they take in a broad view; long-focal-length lenses, such as 300mm, are called telephoto lenses and take in a narrow view.
22-31 3/9/05 3:06 PM Page 27 Black-and-White Film Film Formats Film comes in several formats (sizes), producing negatives of varying sizes and shapes. 22-31 28 3/9/05 3 3:06 PM Page 28 Black-and-White Film Film Storage and X Rays For safe storage, keep all film in a relatively dry environment (low humidity) and away from heat, whenever possible at a temperature of 75˚F or lower. This applies to unexposed or exposed film, and even processed negatives. You can store unexposed film in a refrigerator or freezer to prolong its freshness, but be sure to keep it in its original package, and let it reach room temperature before taking it out of the package and putting it in your camera.
Aiming the camera and lens roughly at a scene’s horizon line will help keep distortion in check; tilting the camera and lens up or down will exaggerate the fisheye effect. 56-67 3/11/05 11:54 AM Page 56 Aaron Siskind, Pleasures and Terrors of Levitation #63, 1956 Legendary photographer Siskind made photographs of divers leaping through the air. Positioned below the divers, he emphasized the abstract quality of their twisting shapes by isolating them against the sky’s light, neutral background. To stop their motion, Siskind set his camera at a fast shutter speed, possibly 1/250 or 1/500, depending on how fast the figures were moving.