microsoft office Professional Plus 2007 serial key

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critic a: "this image features a specified ethereal quality.
critic b: "it's a fuzzy image."
the usage of soft-focus lenses has generally been relatively controversial in addition to rather really difficult.&nbsp to me, they are a instead specialized tool, something like the fish-eye lenses.&nbsp i have seen many fish-eye pictures i didn't care for at all, but a few i found wonderful.&nbsp similarly, there are awful soft-focus images, but some of the all-time great photographs are soft.&nbsp the names stieglitz and steichen jump into mind. many think of these lenses as merely a way to "erase wrinkles", but in the right hands they can help in creating beautiful landscapes and provide a mood that strengthens other photographs.&nbsp soft-focus lenses are tools.&nbsp like other tools they can provide results that are good or bad.
no lens is perfect.&nbsp all lenses have defects, known as aberrations, that cause the picture to be less than perfect.&nbsp softness of emphasis is the result of one or more of these aberrations being strong enough to be noticeable.&nbsp one aberration is the "spherical".&nbsp it is comparatively easy to grind a lens surface which is a segment of a sphere, but a surface like that can't quite put an image into correct target.&nbsp lens designers have to use several surfaces working together to reduce spherical aberration to useful levels.&nbsp the most common means of producing a soft-focus lens is to allow some spherical aberration to remain.&nbsp a caution.&nbsp some very early soft emphasis lenses also had significant amounts of chromatic aberration, they couldn't focus different colors onto the same surface.&nbsp unless you intend to use only blue-sensitive film, no longer readily available, these would not be a good idea.&nbsp the tip for identifying these lenses is that they will not contain an&nbsp achromatic component - two or more glasses together.&nbsp &nbsp &nbsp two examples are the dallmeyer-bergheim a telephoto soft-focus lens,microsoft office Professional Plus 2007 serial key, and the puligny-puyo.&nbsp
many photographers still alive, and perhaps still working, today, started off with a soft-focus lens, although they probably have never thought of it that way.&nbsp during the 1920's and 30's, box brownies and other simple cameras were apt to be fitted with a single meniscus lens - one piece of glass with convex curves on both surfaces, thicker in the middle than the edges.&nbsp these exhibited most every aberration in the book, but had a small enough aperture that images were usable.&nbsp
there are two categories of people.&nbsp those who divide into categories, and those who do not.&nbsp there are two categories of soft-focus lens.&nbsp those which provide selection of softness without changing the aperture, and those which do not.&nbsp let's discuss the latter first.&nbsp the smaller the aperture, the less spherical aberration affects the picture.&nbsp this provides the basis for making the simpler forms of soft-focus lenses.&nbsp you need only two pieces of glass to make a basic achromat, a lens which will target different colors of light together very well enough to provide a usable picture, but which has too much spherical aberration to produce a sharp image at larger apertures.&nbsp put a diaphragm in front of this lens, stop it down to f16,office 2010 Professional product key, and you can make a fairly sharp photograph.&nbsp this is the construction of two of the four soft-focus lenses that i am aware of being made today.&nbsp these are the rodenstock imagon and the current version of the fujinon soft-focus lenses. (earlier fujinon sf lenses were triplets.)&nbsp these lenses have peculiar diaphragms - removable discs with central holes surrounded by a ring of smaller holes which can be opened or closed.&nbsp buyers of used lenses should be sure that all the discs are present.&nbsp imagon lenses are made in 250 and 300mm focal lengths along with versions for medium format cameras.&nbsp the fujinons come in 180 and 250mm lengths.&nbsp there can be an occasional problem with these lenses.&nbsp strong highlights can be surrounded by a ring of little lights - an picture of the diaphragm.&nbsp
the other two current soft-focus lenses are made by yamasaki and cooke.&nbsp under the "congo" name, soft emphasis triplets are made by yamasaki in&nbsp 150 and 200mm lengths.&nbsp to date, cooke produces only one size, the 9" (229mm) ps945.&nbsp the cooke design is based on a very old lens, the pinkham-smith, which, along with the busch nicola perscheid, has become something of a cult item, particularly in japan, receiving very high prices on the used market.&nbsp there were several series of p&amp s lenses, later sold under the smith name only, which differed in their characteristics.&nbsp i don't know which was used as a design basis by cooke.&nbsp &nbsp
speaking of used items, most are quite old, but there is less reason to reject a soft-focus lens because of age than there is when searching for a normal lens.&nbsp o.k., it won't be as sharp as a new lens.&nbsp you don't want it to be.&nbsp it won't be coated, and it won't have the contrast of later designs.&nbsp most of your subjects will not want high contrast treatment.&nbsp flare could be a problem, but that's what lens shades and lighting control are for.&nbsp many soft-focus lenses have instead narrow coverage for their focal lengths and this can be helpful where flare is concerned.&nbsp
still speaking of lenses which control the amount of softness only by the aperture, there are many different designs which may be available at least occasionally.&nbsp one of the more common is the wollensak veritar.&nbsp they have an achromat pair at the back and a large meniscus lens at the front.&nbsp the combination gives a peculiar result in stopping down.&nbsp all the gain in depth of field is behind the plane of sharp concentrate, so instead of focusing on an eye when making a portrait,office 2010 serial key, you need to emphasis on the tip of the nose.&nbsp &nbsp they are among the few older soft-focus lenses which came in (large) synchronized shutters.&nbsp a still earlier wollensak product was the verito.&nbsp except for the two smallest sizes, this was an f4 lens, the back group of which could be used by itself.&nbsp it may have been a rapid rectilinear type, but more likely a petzval.&nbsp
the kodak portrait lens is an achromat like those of the imagon and fujinon lenses, but includes a normal diaphragm instead of removable discs.&nbsp the spencer port-land, the hanovia "kalosat" and the cooke achromatic portrait are of similar construction.&nbsp the same description would also apply&nbsp to early "landscape lenses.&nbsp the basic difference is that those intended as soft-focus lenses have larger apertures.&nbsp
some dallmeyer lenses fall into this grouping.&nbsp one type was just called the "dallmeyer soft focus.&nbsp it appears to be similar to the kodak.&nbsp another was the "mutac", unusual in that it was a triple convertible.&nbsp you could use the lens complete or with either of the cells by itself.&nbsp
the petzval portrait was a special case, not really a soft-focus lens, since it is very sharp in the center.&nbsp the very first mathematically computed lens, it goes back to within a year of the public introduction of photography and the aim was to produce a lens fast enough to take people pictures.&nbsp softness in the outer areas was not intentional, but was accepted in order to attain the desired speed.&nbsp it also has an inward curving field.&nbsp aside from wide-angles, most of the darlot lenses found today are modified petzval types, some, the ross, for example, offering a flatter field.&nbsp &nbsp burke &amp james were still offering new modified petzval type portrait lenses into the 1970's.&nbsp
the other category consists of a normal lens, as far as the glass is concerned, with a means of varying the lens elements so as to produce a controllable amount of spherical aberration, thus giving you some measure of control independent of the aperture.&nbsp stopping down will, of course,&nbsp still create a sharper picture, but you have a degree of control over depth of field in addition to amount of diffusion.&nbsp
here we go with categories again.&nbsp some of these lenses are based on anastigmat designs, some are not.&nbsp those which are not are mostly petzval designs, and those most frequently seen are made by dallmeyer, who started making portrait lenses with diffusion control in 1866.&nbsp you want shallow depth of field?&nbsp try the dallmeyer patent portrait no. 8d, 37" (934mm) focal length, f6.&nbsp if speed is your thing, the b series was f3.&nbsp most of these effectively deserve the term "brass cannon".&nbsp you need a very solid camera with a large lensboard to make utilization of all but the smallest sizes.&nbsp the glass ranged up to 6" diameter.&nbsp they were also extremely expensive, up to over $400 at a time when you could buy an eastman view camera for $19.00.&nbsp the smaller sizes carried a rack and pinion focusing movement, and you had to pay extra for an iris diaphragm instead of waterhouse stops.&nbsp ross also made lenses of this type in f3.5 aperture.&nbsp
the wollensak "vitax" is probably a petzval type.&nbsp it was made in at least three sizes from ten to 16 inches (254 to 406mm).&nbsp it is distinctive in having a knob on the side as the diffusion adjustment means.&nbsp it may be found in a "studio" shutter, an iris diaphragm type working in only the "bulb" mode.&nbsp also apparently a petzval type is&nbsp the eastman portrait lens, not to be confused with the kodak portrait of much later production.&nbsp "eagle" portrait lenses were sold by george murphy inc., and i think this probably was a murphy house brand.&nbsp there were several series, both with and without the diffusion adjustment.&nbsp
&nbsp turning to the anastigmats, many makers provided at least a few lenses with a soft target adjustment added to lenses selected from their normal production range.&nbsp an exception was the graf "variable", designed from the start as an adjustable diffusion type.&nbsp the name derives from the fact that the focal length and the aperture changed a little as the soft target was selected.&nbsp &nbsp &nbsp edward weston was among the several prominent users of graf lenses.&nbsp wollensak made some lenses of this type, probably tessars.&nbsp &nbsp the ones i have seen were series ii, but there may have been others.&nbsp in england, they were made by taylor, taylor &amp hobson&nbsp &nbsp (cooke), dallmeyer, beck and possibly others.&nbsp cooke lenses are the most common, in series ii, f4.5 and series vi, f5.6, but not all series ii cookes have the diffusion device.&nbsp many cooke lenses have very prominent adjustment handles with two finger openings, sometimes referred to as "spectacles".&nbsp the absence of these does not necessarily mean that there is no diffusion adjustment, however.&nbsp the only continental anastigmats with a soft-focus feature that have come to my attention are the voigtlander "universal" heliar and the zeiss&nbsp portrait unar, also made under license by bausch &amp lomb.&nbsp &nbsp there probably have been others, though.&nbsp
like other tools,office 2010 pro 64 bit, using soft-focus lenses improves with practice.&nbsp there is a problem in that the groundglass gives only a limited idea of what the final print will look like.&nbsp it would be a good idea to take a series of otherwise identical photos with differing settings of aperture and (if provided) diffusion control, when first trying out a soft-focus lens.&nbsp the resulting prints can then be used as references when making&nbsp future photographs.&nbsp
there are many methods of softening emphasis without utilization of a special lens.&nbsp one idea, frequently suggested, is to diffuse the concentrate during enlargement.&nbsp there is a commercial item for this purpose,office Professional Plus 2007 keygen, the pictrol,&nbsp too small at 2" inside diameter to go in front of most large format camera lenses.&nbsp the problem here is that diffusion during a printing process&nbsp produces a different result.&nbsp diffusion onto a negative spreads light out into the shadow areas.&nbsp diffusion during printing spreads darkness into the highlights.&nbsp the result has been described as being suitable for portraits of the addams family.&nbsp
one early device mechanically jiggled the concentrate control during exposure, the apparent aim being to increase depth of field.&nbsp some early lenses were advertised as having great depth of field.&nbsp this was the same as saying that they were soft.&nbsp
some experimenters have used the rather hazardous means of partially unscrewing a cell or cells of a normal lens.&nbsp my first photograph with a new wide angle lens produced a picture of a youth choir looking considerably more angelic than expected.&nbsp i traced the phenomenon to a lensboard a little too thick to allow the cells to fully come into position.&nbsp as it turned out, the choir director liked the result.&nbsp &nbsp if i were going to try something&nbsp that might result in accident to the lens, i think i would try it on one of the surplus xerox lenses.&nbsp these are typically 8 1/4",&nbsp f4.5, made by very good manufacturers.&nbsp as of this writing, copy raptars&nbsp are available at www.surplusshed.com
at $10.00.&nbsp the last i knew, these lenses by t,t&amp h, b&amp l and rank were available&nbsp at www.candhsales.com
at $16.50.&nbsp the raptars appear to be normal production items, while the others were designed especially for copy machines and may have been color corrected for the near monochromatic light of these machines.&nbsp
some people have smeared vaseline onto the front of their lenses.&nbsp i think i would prefer to smear up a filter rather than a lens.&nbsp others have used everything from cigar smoke to a piece of ladies stocking material in front of the lens.&nbsp in the latter case, sometimes holes are burned into the fabric to modify the results.&nbsp hollywood types have employed fog machines.&nbsp there&nbsp are commercial diffusing discs.&nbsp the zeiss softar seems to be the most highly regarded device of this type.&nbsp it includes a series of concentric thread-like rings formed into the glass and is rather expensive..&nbsp
there are ways of upsetting carefully calculated spherical aberration reduction besides changing element spacing.&nbsp a thick glass plate is one.&nbsp adding various combinations of weak positive and negative elements, proxar and distar and the like, might be another.&nbsp
i have found surprisingly little in the way of compiled information on this subject.&nbsp this little article is an attempt to fill this apparent gap.&nbsp all comments, suggestions and particularly provisions of additional information are especially welcome.