How to design and build traditional medium/large format cameras working in wood, brass and other materials. The book is filled with drawings ,diagrams and advice for those working at different skill levels to build a range of both straight forward and specialized cameras.

The singular beauty of this book is that Mr. Selakovich has successfully dedicated himself to producing clarity with every page." - Michael Ferris, Camera Operator/DP (Die Hard) For filmmakers who like to shoot their films with a mobile camera withough spending a fortune on equipment rentals, this book is a great gift indeed. I highly recommend it for its clarity and common sense." - Kris Malkiewica, Cinematographer/Author Don't buy or rent your fillm equipment-build it! Construct professional-quality camera rigs on your own with this comprehensive, step-by-step guide and stop wasting your money on overpriced equipment rentals and purchases! Dan Selakovich guides you through the creation of jibs, dollies, cranes, car-mounts, sandbags, tripods, and more. Features include: Build inexpensive but reliable and sturdy rigs-including cranes, dollies, stabilizers, car-mounts, and more; most for much less than $100!Includes over 2,000 photographs with clear step-by-step instructions, safety guidelines, material lists, and tool lists for each rig. American standard and meric measurements included. Includes a companion web site: http://dvcamerarigs.com/

This is a working camera that pops up from the pages of a book..The book concisely explains--and actively demonstrates--how a structure as humble as a folded piece of paper can tap into the intrinsic properties of light to produce a photograph.The book includes:- a piece of paper folded into a working 4x5" camera- a lightproof bag- 5 sheets of photo-paper "film"- development instructions (from complete DIY to "outsource it")- a foil-stamped cover- a satisfying demonstration of the connection between design & science / structures & functions

Did you know you can make your own camera, and create striking images, for next to nothing? Pinhole cameras have existed since the 19th Century, and use a tiny hole instead of a lens to make pictures on film that can be processed in the normal way. The results have amazing qualities, and in Build Your Own Paper Camera, one of the world's leading pinhole photographers shows you how to make your own paper pinhole cameras using the unique camera templates on the disc and step-by-step instructions - you can even learn how to turn your digital SLR into a pinhole camera!

Known as the kamra-e-faoree ('instant camera'), Afghanistan is one of the last places on Earth where it has continued to be used by photographers as a way of making a living. Under the Taliban, with the banning of photography, it was even outlawed, forcing photographers to hide or destroy their tools. Spanning decades, from peacetime to war, box camera photography in Afghanistan exists within a more sophisticated photographic history. With the help of dozens of Afghan photographers, this book illustrates the technique and artistry of a visually enthralling photographic culture.

Art historians have long speculated on how Vermeer achieved the uncanny mixture of detached precision, compositional repose, and perspective accuracy that have drawn many to describe his work as "photographic." Indeed, many wonder if Vermeer employed a camera obscura, a primitive form of camera, to enhance his realistic effects? In Vermeer's Camera, Philip Steadman traces the development of the camera obscura--first described by Leonaro da Vinci--weighs the arguments that scholars have made for and against Vermeer's use of the camera, and offers a fascinating examination of the paintings themselves and what they alone can tell us of Vermeer's technique. Vermeer left no record of his method and indeed we know almost nothing of the man nor of how he worked. But by a close and illuminating study of the paintings Steadman concludes that Vermeer did use the camera obscura and shows how the inherent defects in this primitive device enabled Vermeer to achieve some remarkable effects--the slight blurring of image, the absence of sharp lines, the peculiar illusion not of closeness but of distance in the domestic scenes. Steadman argues that the use of the camera also explains some previously unexplainable qualities of Vermeer's art, such as the absence of conventional drawing, the pattern of underpainting in areas of pure tone, the pervasive feeling of reticence that suffuses his canvases, and the almost magical sense that Vermeer is painting not objects but light itself. Drawing on a wealth of Vermeer research and displaying an extraordinary sensitivity to the subtleties of the work itself, Philip Steadman offers in Vermeer's Camera a fresh perspective on some of the most enchanting paintings ever created.

Scottish Planning Law is a comprehensive and accessible guide to a constantly changing and complex field. The clear, well -structured style and practical approach of previous editions have been retained and enhanced while taking account many significant developments in recent planning law. Written by a team of authors with expertise and experience, this edition encompasses the reforms in planning law and practice in Scotland introduced primarily by the Planning etc (Scotland) Act 2006 and the related suite of secondary legislation which has radically altered the legislative landscape. This highly regarded text is essential reading for all those involved in the disciplines of planning, surveying, architecture, sustainable development and law.