TGW Technology's Camera Focus

TGW Technology's Camera Focus

2021-04-18
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Introduction to Camera Focus
Introduction to Camera Focus
1. Publications of camera focus List of Publications: 'Seeing and Being Seen. Politics, art and the everyday in the Durban photography of Omar Badsha, 1960s-1980s in Africa, 81/4, 2011, pp 1 23. The form of the norm: spectres of gender in South African photography of the 1980s in Social Dynamics Special Issue on Scripted Bodies, Spring 2011. John Liebenberg & Patricia Hayes, Bush of Ghosts. Life and War in Namibia (Cape Town: Umuzi Random House, 2010). Poisoned landscapes in Santu Mofokeng, Thirty Years of Photo Essays (Paris: Prestel, 2011). Santu Mofokeng, Photographs. The violence is in the knowing in History & Theory, Special Issue on History & Photography, Fall 2009. A Land of Goshen: Landscape & Kingdom in 19th century Eastern Ovambo, Northern Namibia in Michael Bollig & Olaf Bubenzer (eds), African Landscapes. Interdisciplinary Approaches (New York: Springer, 2009). When you shake a tree: pre colonial & postcolonial in northern Namibian history in Derek Peterson and Giacomo Macola (eds), Recasting the Past (Athens: Ohio University Press, 2009). Wolfram Hartmann, Jeremy Silvester and Patricia Hayes (eds.). The Colonising Camera: Photographs in the Making of Namibian History. Cape Town, Windhoek and Athens: UCT Press, Out of Africa and Ohio University Press, 1998. Patricia Hayes, Sankuru,Katako Kombe & Crnes dElphants envoys au Muse, in Carl De Keyzer & Johan Lagae, Congo belge en images (Lannoo: Tielt, 2010), .mw-parser-output cite.citationfont-style:inherit.mw-parser-output .citation qquotes:"""""""'""'".mw-parser-output .id-lock-free a,.mw-parser-output .citation .cs1-lock-free abackground-image:url("//upload.wikimedia.org/wikipedia/commons/thumb/6/65/Lock-green.svg/9px-Lock-green.svg.png");background-image:linear-gradient(transparent,transparent),url("//upload.wikimedia.org/wikipedia/commons/6/65/Lock-green.svg");background-repeat:no-repeat;background-size:9px;background-position:right .1em center.mw-parser-output .id-lock-limited a,.mw-parser-output .id-lock-registration a,.mw-parser-output .citation .cs1-lock-limited a,.mw-parser-output .citation .cs1-lock-registration abackground-image:url("//upload.wikimedia.org/wikipedia/commons/thumb/d/d6/Lock-gray-alt-2.svg/9px-Lock-gray-alt-2.svg.png");background-image:linear-gradient(transparent,transparent),url("//upload.wikimedia.org/wikipedia/commons/d/d6/Lock-gray-alt-2.svg");background-repeat:no-repeat;background-size:9px;background-position:right .1em center.mw-parser-output .id-lock-subscription a,.mw-parser-output .citation .cs1-lock-subscription abackground-image:url("//upload.wikimedia.org/wikipedia/commons/thumb/a/aa/Lock-red-alt-2.svg/9px-Lock-red-alt-2.svg.png");background-image:linear-gradient(transparent,transparent),url("//upload.wikimedia.org/wikipedia/commons/a/aa/Lock-red-alt-2.svg");background-repeat:no-repeat;background-size:9px;background-position:right .1em center.mw-parser-output .cs1-subscription,.mw-parser-output .cs1-registrationcolor:#555.mw-parser-output .cs1-subscription span,.mw-parser-output .cs1-registration spanborder-bottom:1px dotted;cursor:help.mw-parser-output .cs1-ws-icon abackground-image:url("//upload.wikimedia.org/wikipedia/commons/thumb/4/4c/Wikisource-logo.svg/12px-Wikisource-logo.svg.png");background-image:linear-gradient(transparent,transparent),url("//upload.wikimedia.org/wikipedia/commons/4/4c/Wikisource-logo.svg");background-repeat:no-repeat;background-size:12px;background-position:right .1em center.mw-parser-output code.cs1-codecolor:inherit;background:inherit;border:inherit;padding:inherit.mw-parser-output .cs1-hidden-errordisplay:none;font-size:100%.mw-parser-output .cs1-visible-errorfont-size:100%.mw-parser-output .cs1-maintdisplay:none;color:#33aa33;margin-left:0.3em.mw-parser-output .cs1-subscription,.mw-parser-output .cs1-registration,.mw-parser-output .cs1-formatfont-size:95%.mw-parser-output .cs1-kern-left,.mw-parser-output .cs1-kern-wl-leftpadding-left:0.2em.mw-parser-output .cs1-kern-right,.mw-parser-output .cs1-kern-wl-rightpadding-right:0.2em.mw-parser-output .citation .mw-selflinkfont-weight:inheritISBN 978-90-209-8708-9. Night, shadow, smoke, mist, blurring, occlusion and abeyance: Santu Mofokeng in Art South Africa Volume 08 Issue 02, 2009. Power, Secrecy, Proximity: a history of South African photography in Kronos, Vol 33. Visual emergency? Fusion and fragmentation in South African photography of the 1980s in Camera Austria, Vol 100/2007, 18-22. Patricia Hayes (ed), Visual Genders, Visual Histories (Oxford: Blackwell). Wendy Woodward, Gary Minkley and Patricia Hayes (eds), Deep Histories: Gender and Colonialism in Southern Africa (Amsterdam: Rodopi) Patricia Hayes, Jeremy Silvester, Marion Wallace & Wolfram Hartmann (eds.). Namibia under South African rule: mobility and containment, 1915-1946 (London, Windhoek & Athens OH: James Currey, Out of Africa & Ohio University Press). ------ 2. Biography of camera focus She was born Cecil Weiner on August 15, 1928 in New Jersey. She was given the name Cecil after an aunt who served as a judge in Oakland, California. Her artistic career commenced in the late 1940s when she was educated at Harvard University's Radcliffe College, where she read art history and the theory and practice of drawing and painting. Josp graduated with a bachelor of arts degree in 1951. She lived in New York in the early 1950 and was a representational painter when abstract expressionists emerged within the art world. She married the Belgian Roger Josp in 1958 and relocated to London five years later. Josp's marriage and the birth of her three children stopped her from working as a creative artist until she enrolled on a part-time degree in professional photography at the Polytechnic of Central London (now the University of Westminster). She learnt how to print color transparencies and was intrigued in 5x4 camera technology. Josp used the skills she learnt to photograph her life as a housewife and mother over the past quarter of a century; her obituarist in The Times described them as "icons of domesticity with an undercurrent of irony" and "profoundly personal and psychologically eerie." Josp held solo exhibitions of her work at The Photographers' Gallery in Great Newport Street, London in 1983 and 1985. She also considered training as a psychologist and was the Analytical Psychology Club of London's secretary, for which she designed a club logo and letterhead. Between 1985 and 1997 Josp went to classes at the Slade School of Fine Art in the belief she would help other professional art bodies, and was mentioned in the Richard Platt's The Ultimate Photo Data Guide in 1989 for her work on a French phrasebook. Eventually she ceased to work in photography and returned to her first interest of painting; she focused mainly on watercolours. In 1992, Josp underwent an operation for cancer and was able to continue painting for as long as she could. She was elected to the Chelsea Art Club, the Royal Watercolour Society in 2001, and the New English Art Club two years later. Josp was a regular exhibitor at the latter two societies with studies on ponies, purple buds and white flowers put on a dark background. She died in London on May 17, 2004. The New English Art Club named the Cecil Josp Prize after her. It is awarded to "members to the work of a non-members." ------ 3. The Kidnappers Foil of camera focus The Kidnappers Foil was one of Melton Barker's films. The same script would be shot repeatedly in different towns with a different cast across the United States from the 1930s though the 1950s. Melton Barker Juvenile Productions would contact local theaters and newspapers to sponsor the film, after which a casting call for children would go out and parents would be encouraged to fill out the paperwork provided and after paying a small fee, the children would participate in a short audition before a representative of the production company. This company would consist of a skeleton crew consisting of Melton Barker, a camera man, a sound man, and an assistant. The plot of the films hardly changed with each production. In each a young girl, Betty Davis, is kidnapped and held for ransom following her birthday. Her father offers a reward of $1,000 for her return. A group of young boys led by Butch, imagine what they could do with the reward and set out in search for Betty. Soon another group of even younger children attempt to join the search, but are refused and set out upon their own. A group of local girls soon join with Butch and his gang. After several days with no results the gang once again imagines what they will do with the money. Soon after they catch the kidnappers napping, and rescue Betty. All of the children are invited to Betty's house to celebrate, where they perform several song and dance numbers. The Kidnappers Foil was produced in different cities across the country over one hundred and thirty times. Once completed these films would be screened locally, prior to a Hollywood feature film yet receiving more advertising space. These films tended to get positive reviews regardless of the quality. Barker would film The Kidnappers Foil many times from the 1930s through the 1970s. He also worked on several non-fiction itinerant films. These were The Centralia Story and The Cape Girardeau Story. His last known residence was Meridian, Mississippi. He died in March 1977 while still on the road. In 2012 The Kidnappers Foil was added to the Library of Congress' National Film Registry.
Knowledge About Camera Focus
Knowledge About Camera Focus
1. Selected works of camera focus deKieffer, Donald E. (1995). How Lawyers Screw Their Clients and What You Can Do About It. New York: Barricade Books. ISBN 9781569800553. OCLC 911337024.mw-parser-output cite.citationfont-style:inherit.mw-parser-output .citation qquotes:"""""""'""'".mw-parser-output .id-lock-free a,.mw-parser-output .citation .cs1-lock-free abackground-image:url("//upload.wikimedia.org/wikipedia/commons/thumb/6/65/Lock-green.svg/9px-Lock-green.svg.png");background-image:linear-gradient(transparent,transparent),url("//upload.wikimedia.org/wikipedia/commons/6/65/Lock-green.svg");background-repeat:no-repeat;background-size:9px;background-position:right .1em center.mw-parser-output .id-lock-limited a,.mw-parser-output .id-lock-registration a,.mw-parser-output .citation .cs1-lock-limited a,.mw-parser-output .citation .cs1-lock-registration abackground-image:url("//upload.wikimedia.org/wikipedia/commons/thumb/d/d6/Lock-gray-alt-2.svg/9px-Lock-gray-alt-2.svg.png");background-image:linear-gradient(transparent,transparent),url("//upload.wikimedia.org/wikipedia/commons/d/d6/Lock-gray-alt-2.svg");background-repeat:no-repeat;background-size:9px;background-position:right .1em center.mw-parser-output .id-lock-subscription a,.mw-parser-output .citation .cs1-lock-subscription abackground-image:url("//upload.wikimedia.org/wikipedia/commons/thumb/a/aa/Lock-red-alt-2.svg/9px-Lock-red-alt-2.svg.png");background-image:linear-gradient(transparent,transparent),url("//upload.wikimedia.org/wikipedia/commons/a/aa/Lock-red-alt-2.svg");background-repeat:no-repeat;background-size:9px;background-position:right .1em center.mw-parser-output .cs1-subscription,.mw-parser-output .cs1-registrationcolor:#555.mw-parser-output .cs1-subscription span,.mw-parser-output .cs1-registration spanborder-bottom:1px dotted;cursor:help.mw-parser-output .cs1-ws-icon abackground-image:url("//upload.wikimedia.org/wikipedia/commons/thumb/4/4c/Wikisource-logo.svg/12px-Wikisource-logo.svg.png");background-image:linear-gradient(transparent,transparent),url("//upload.wikimedia.org/wikipedia/commons/4/4c/Wikisource-logo.svg");background-repeat:no-repeat;background-size:12px;background-position:right .1em center.mw-parser-output code.cs1-codecolor:inherit;background:inherit;border:inherit;padding:inherit.mw-parser-output .cs1-hidden-errordisplay:none;font-size:100%.mw-parser-output .cs1-visible-errorfont-size:100%.mw-parser-output .cs1-maintdisplay:none;color:#33aa33;margin-left:0.3em.mw-parser-output .cs1-subscription,.mw-parser-output .cs1-registration,.mw-parser-output .cs1-formatfont-size:95%.mw-parser-output .cs1-kern-left,.mw-parser-output .cs1-kern-wl-leftpadding-left:0.2em.mw-parser-output .cs1-kern-right,.mw-parser-output .cs1-kern-wl-rightpadding-right:0.2em.mw-parser-output .citation .mw-selflinkfont-weight:inherit deKieffer, Donald E. (1997). The Citizen's Guide to Lobbying Congress. Chicago: Chicago Review Press. ISBN 9781556521942. OCLC 659907259. ------ 2. Activism of camera focus Chehade is an advocate in the area of human rights and public policy regarding the Palestinian Israeli conflict, along with academic freedom. He is one of five committee members on the American Association of University Professors Committee A on Academic Freedom, and is the adviser for the Students for Justice in Palestine (SJP) at both SAIC and Columbia College Chicago. He is also the advisory for Jewish Voice for Peace chapter at Columbia College Chicago Class CancellationChehade teaches a course on the Palestinian-Israeli impasse at both Columbia and SAIC. The course offered at Columbia College Chicago garnered a great deal of national attention when one of the two classes was canceled in 2014. Professor Chehade was accused of bias after screening the Academy Award Nominated film '5 Broken Cameras' in his class. Over 7,000 people petitioned to get the class reinstated. The co-director of 5 Broken Cameras Guy Davidi wrote an open letter of support of Chehade and urged Columbia not to cancel the second class. Columbia College Chicago was found guilty of an academic freedom violation and the class was reinstated. In the spring of 2016 Columbia tried to cancel one of the classes again Once again, the class we reinstated after protest. Uprising TheaterIn 2013, Iymen Chehade showed the documentary '5 Broken Cameras' in his course at Columbia College on the Palestinian-Israeli conflict. Shortly after that viewing, one of his courses was removed by the college's administration. Chehade and his supporters launched a campaign for academic freedom called Respect Academic Freedom: Palestine is No Exception (RAFPINE) and with the help of thousands of supporters, Chehade's course was restored. Inspired by the support of thousands of people around the world, Chehade, his students, and colleagues in the social justice community, wanted to keep building on the conversation and thus Uprising Theater was born. Public SpeakingIn addition to speaking as a guest lecturer at other universities. Chehade has been a key note speaker for the General Delegation of the Palestine Liberation Organization (PLO) Land Day event in Washington DC 2015, where he was celebrated among other Palestinians 'who won't be silenced'. He was also a speaker at the National SJP Conference in 2016. ------ 3. Production history of camera focus Lungs premiered in October 2011 at the Studio Theatre in Washington, D.C., directed by Aaron Posner and starring Ryan King and Brooke Bloom as M and W respectively. It also held its British debut that same month at the Crucible Theatre in Sheffield directed by Richard Wilson, and starring Alistair Cope and Kate O'Flynn. Canadian productions of the play were held at the Tarragon Theatre in Toronto in March 2014 starring Brendan Gall and Lesley Faulkner, and in February 2015 at the Verb Theatre, starring Kyle Jespersen and Anna Cummer. A 2019 production of the play was hosted at The Old Vic starring Matt Smith and Claire Foy, with Matthew Warchus directing. Previews began in October prior to a November opening. This production was planned to transfer to the United States at the Brooklyn Academy of Music from March 25 to April 19, 2020. Smith and Foy were slated to reprise their roles. Due to the COVID-19 Pandemic, this transfer was cancelled. On the 27th May 2020, it was announced that the 2019 Old Vic production would be reprised with Matt Smith and Claire Foy starring once again. Starting in June, it was part of Old Vic: In Camera, a project aiming to revive the theatre's revenue, which had been wiped out by the closure of theatres caused by the COVID-19 Pandemic, through live streams and other digital focused works. Despite being live-streamed over the internet, tickets were limited to 1,000 per performance, representing the full capacity of the house of any regular performance at The Old Vic. Tickets were available at standard prices (10-65) for each performance. ------ 4. Life and career of camera focus She made her debut at the Thtre des Batignolles in Le Petit Nicol by Alfred Sguin in 1863 and was then engaged (under the name "Mlle Laurence") at the Vaudeville as Nicette in La Chercheuse d'esprit by Charles-Simon Favart, where she met Pierre Grivot whom she married in 1866. Grivot played in many pieces alongside her husband such as Jobin et Nanette, Horace et Litine, La Famille Benoton by Victorien Sardou) until her husband left in 1868 to join the Thtre de la Gat. She continued with successes in Les Brebis galeuses and Les Faux Bonshommes by Thodore Barrire, La Dame aux camlias by Alexandre Dumas fils, Le Sacrifice by Alphonse Daudet, and Le Mariage de Figaro by Beaumarchais. At the advent of the Paris Commune in 1871, she joined her husband to run the Gat theatre, with performances of La Grce de Dieu. The couple toured the French provinces and as far as Cairo (the 1872-73 season). Back in France she became a regular creator of roles (often travesty) for Jacques Offenbach with La permission de dix heures and La jolie parfumeuse at the Thtre de la Renaissance in 1873 then Bagatelle and Madame l'archiduc at the Thtre des Bouffes-Parisiens in 1874 then, after a serious illness, returning to the stage for a revival of La Vie parisienne at the Varits in 1877. Moving to straight theatre, Grivot joined the Thtre de l'Odon company in 1880 and immediately had great success in Les Parents d'Alice, following this with others plays, before moving to the Thtre du Gymnase in 1883. Taken ill during a performance of Paris fin de sicle by Ernest Blum and Raoul Toch at the Gymnase in 1890 she was forced to retire and died, aged 47, later that year. ------ 5. The Kidnappers Foil of camera focus The Kidnappers Foil was one of Melton Barker's films. The same script would be shot repeatedly in different towns with a different cast across the United States from the 1930s though the 1950s. Melton Barker Juvenile Productions would contact local theaters and newspapers to sponsor the film, after which a casting call for children would go out and parents would be encouraged to fill out the paperwork provided and after paying a small fee, the children would participate in a short audition before a representative of the production company. This company would consist of a skeleton crew consisting of Melton Barker, a camera man, a sound man, and an assistant. The plot of the films hardly changed with each production. In each a young girl, Betty Davis, is kidnapped and held for ransom following her birthday. Her father offers a reward of $1,000 for her return. A group of young boys led by Butch, imagine what they could do with the reward and set out in search for Betty. Soon another group of even younger children attempt to join the search, but are refused and set out upon their own. A group of local girls soon join with Butch and his gang. After several days with no results the gang once again imagines what they will do with the money. Soon after they catch the kidnappers napping, and rescue Betty. All of the children are invited to Betty's house to celebrate, where they perform several song and dance numbers. The Kidnappers Foil was produced in different cities across the country over one hundred and thirty times. Once completed these films would be screened locally, prior to a Hollywood feature film yet receiving more advertising space. These films tended to get positive reviews regardless of the quality. Barker would film The Kidnappers Foil many times from the 1930s through the 1970s. He also worked on several non-fiction itinerant films. These were The Centralia Story and The Cape Girardeau Story. His last known residence was Meridian, Mississippi. He died in March 1977 while still on the road. In 2012 The Kidnappers Foil was added to the Library of Congress' National Film Registry. ------ 6. Biography of camera focus She was born Cecil Weiner on August 15, 1928 in New Jersey. She was given the name Cecil after an aunt who served as a judge in Oakland, California. Her artistic career commenced in the late 1940s when she was educated at Harvard University's Radcliffe College, where she read art history and the theory and practice of drawing and painting. Josp graduated with a bachelor of arts degree in 1951. She lived in New York in the early 1950 and was a representational painter when abstract expressionists emerged within the art world. She married the Belgian Roger Josp in 1958 and relocated to London five years later. Josp's marriage and the birth of her three children stopped her from working as a creative artist until she enrolled on a part-time degree in professional photography at the Polytechnic of Central London (now the University of Westminster). She learnt how to print color transparencies and was intrigued in 5x4 camera technology. Josp used the skills she learnt to photograph her life as a housewife and mother over the past quarter of a century; her obituarist in The Times described them as "icons of domesticity with an undercurrent of irony" and "profoundly personal and psychologically eerie." Josp held solo exhibitions of her work at The Photographers' Gallery in Great Newport Street, London in 1983 and 1985. She also considered training as a psychologist and was the Analytical Psychology Club of London's secretary, for which she designed a club logo and letterhead. Between 1985 and 1997 Josp went to classes at the Slade School of Fine Art in the belief she would help other professional art bodies, and was mentioned in the Richard Platt's The Ultimate Photo Data Guide in 1989 for her work on a French phrasebook. Eventually she ceased to work in photography and returned to her first interest of painting; she focused mainly on watercolours. In 1992, Josp underwent an operation for cancer and was able to continue painting for as long as she could. She was elected to the Chelsea Art Club, the Royal Watercolour Society in 2001, and the New English Art Club two years later. Josp was a regular exhibitor at the latter two societies with studies on ponies, purple buds and white flowers put on a dark background. She died in London on May 17, 2004. The New English Art Club named the Cecil Josp Prize after her. It is awarded to "members to the work of a non-members."
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