dans la vie

2009-04-28T09:16:00.000-07:00

从小住在体育训练基地里面，爸爸也是干体育这一行的，因此我跟体育也有一定的接触，有一定的了解。这次我希望做一个娱乐性的介绍马术的节目，对于大多数人来说，马术是项耗时花钱的贵族运动，日常生活中难以有所接触。并且用于比赛的马匹远不同于旅游景点那些仅供拍照的马，训练基地马房里的都是些两百万的欧洲纯种马。所以我想这样一个题材，对于多数观众来说是有一定神秘性很吸引力的。

若果节目播出后收效良好，还可继续以曲棍球、游泳、棒球、田径、击剑、射击、垒球等项目为主题，制作更多期节目。

节目的具体形式还没有确定，但想它尽量娱乐化，而非传统的知识性节目。初步预想是以一某个运动员或教练员拍摄中心，通过这个个体一天的生活，向观众展现马术的方方面面，比如说运动员教练员是如何工作生活的，马匹的驯养是如何进行的，国内国际赛事是怎样举办的等等。

大概的流程是这样安排的。首先参与者要有一定量马术方面的理论、常识性知识的积累，比如历史发展、著名赛事及运动员、马匹的种类、比赛项目、如何欣赏马术比赛等。对马术有初步概念后，节目制作人员跟随运动员或教练员共同工作训练几天，通过亲身体验加深对马术的了解。接着在这些基础上，全体制作人员共同商讨节目形式，写出节目的流程、板块、拍摄周期等具体事项。还要计划好具体该怎么拍，每一期节目要通过怎样的镜头才能明确的传达我们的想法，表明事情的前因后果，甚至画出每一个镜头草图，包括灯光该怎么打、机位该怎么摆等等细节方面的问题。最后才是开始拍摄。当然，拍摄期间会不断根据实际情况进行调整。

人员安排如下：

摄像师：1人，

灯光师：2人

解说员：1人

场记：1人（主要任务是将现场拍摄的每个镜头的详细情况：镜头号码、拍摄方法、镜头长度）

总人数：5人

pulp fiction

2009-04-21T07:22:00.001-07:00

Pulp Fiction

Promotional artwork

Directed by Quentin Tarantino
Produced by Lawrence Bender
Written by Quentin Tarantino

Roger Avary

Starring John Travolta

Samuel L. Jackson

Uma Thurman

Bruce Willis

Harvey Keitel

Tim Roth

Amanda Plummer

Maria de Medeiros

Ving Rhames

Eric Stoltz

Rosanna Arquette

Christopher Walken

Cinematography Andrzej Sekula
Editing by Sally Menke
Distributed by Miramax Films

(U.S. theatrical)

Release date(s) May 1994

(world premiere—Cannes Film Festival)

September 23, 1994

(U.S. premiere—New York Film Festival)[1]

October 14, 1994

(U.S. general release)[2]

Running time 154 min.
Country United States
Language English
Budget US$8.5 million
Gross revenue US$107.9 million (domestic)

US$212.9 million (worldwide)

Pulp Fiction (1994) is an American crime film by director Quentin Tarantino, who cowrote its screenplay with Roger Avary. The film is known for its rich, eclectic dialogue, ironic mix of humor and violence, nonlinear storyline, and host of cinematic and pop culture references. The film was nominated for seven Oscars, including Best Picture; Tarantino and Avary won for Best Original Screenplay. It was also awarded the Palme d'Or at the Cannes Film Festival. A major commercial success, it revitalized the career of its leading man, John Travolta, who received an Academy Award nomination, as did costars Samuel L. Jackson and Uma Thurman.

The film's title refers to the pulp magazines and hardboiled crime novels popular during the mid-20th century, known for their graphic violence and punchy dialogue. Pulp Fiction is self-referential from its opening moments, beginning with a title card that gives two dictionary definitions of "pulp". The plot, in keeping with most of Tarantino's other works, is presented out of chronological sequence. The picture's self-reflexivity, unconventional structure, and extensive use of homage and pastiche have led critics to describe it as a prime example of postmodern film. Pulp Fiction is viewed as the inspiration for many later movies that adopted various elements of its style. The nature of its development, marketing, and distribution and its consequent profitability had a sweeping effect on the field of independent cinema. A cultural watershed, Pulp Fiction's influence has been felt in several other popular media.
Contents

[show]

1 Overview
2 Plot
2.1 Vincent Vega and Marsellus Wallace's Wife
2.2 The Gold Watch
2.3 The Bonnie Situation
3 Development and production
3.1 Cast
3.2 Soundtrack
4 Release and reception
5 Influence and reputation
6 Critical analysis
6.1 Homage as essence
6.1.1 Cinema
6.1.2 Television
6.2 Notable motifs
6.2.1 The mysterious briefcase
6.2.2 Jules's Bible passage
6.2.3 The bathroom
7 Awards
8 Notes
9 Sources
10 External links

edit] Overview

Directed in a highly stylized manner, employing many cinematic allusions, Pulp Fiction joins the intersecting storylines of Los Angeles mobsters, fringe players, small-time criminals, and a mysterious briefcase. Considerable screen time is devoted to conversations and monologues that reveal the characters' senses of humor and perspectives on life. Considered by some critics a black comedy,[3] the film is also frequently labeled a "neo-noir".[4] Critic Geoffrey O'Brein argues otherwise:

The old-time noir passions, the brooding melancholy and operatic death scenes, would be altogether out of place in the crisp and brightly lit wonderland that Tarantino conjures up. Neither neo-noir nor a parody of noir, Pulp Fiction is more a guided tour of an infernal theme park decorated with cultural detritus, Buddy Holly and Mamie Van Doren, fragments of blaxploitation and Roger Corman and Shogun Assassin, music out of a twenty-four-hour oldies station for which all the decades since the fifties exist simultaneously.[5]

Nicholas Christopher similarly calls it "more gangland camp than neo-noir".[6] Foster Hirsch also suggests that its "trippy fantasy landscape" characterizes it more definitively than any genre label: Set "in a world that could exist only in the movies", Pulp Fiction is "a succulent guilty pleasure, beautifully made junk food for cinéastes".[7]

In keeping with writer-director Quentin Tarantino's trademark of nonlinear storytelling, the narrative is presented out of sequence. Pulp Fiction is structured around three distinct but interrelated storylines—in Tarantino's conception, mob hitman Vincent Vega is the lead of the first story, prizefighter Butch Coolidge is the lead of the second, and Vincent's fellow contract killer, Jules Winnfield, is the lead of the third.[8] Although each storyline focuses on a different series of incidents, they connect and intersect in various ways. The film starts out with a diner hold-up staged by "Pumpkin" and "Honey Bunny", then picks up the stories of Vincent, Jules, Butch, and several other important characters, including mob kingpin Marsellus Wallace, his wife, Mia, and underworld problem-solver Winston Wolf. It finally returns to where it began, in the diner: Vincent and Jules, who have stopped in for a bite, find themselves embroiled in the hold-up. There are a total of seven narrative sequences—the three primary storylines are preceded by identifying intertitles on a black screen:

Prologue—The Diner (i)
Prelude to "Vincent Vega and Marsellus Wallace's Wife"
"Vincent Vega and Marsellus Wallace's Wife"
Prelude to "The Gold Watch" (a—flashback, b—present)
"The Gold Watch"
"The Bonnie Situation"
Epilogue—The Diner (ii)

If the seven sequences were ordered chronologically, they would run: 4a, 2, 6, 1, 7, 3, 4b, 5. Sequences 1 and 7 partially overlap and are presented from different points of view; the same is true of sequences 2 and 6. The narrative course, with all its detours, is virtually circular, as the final scene overlaps and resolves the interrupted first scene. Reflecting on the film, Tarantino says, "One thing that's cool is that by breaking up the linear structure, when I watch the film with an audience, it does break [the audience's] alpha state. It's like, all of a sudden, 'I gotta watch this...I gotta pay attention.' You can almost feel everybody moving in their seats. It's actually fun to watch an audience in some ways chase after a movie."[9]

edit] Plot

"Pumpkin" (Tim Roth) and "Honey Bunny" (Amanda Plummer) are having breakfast in a diner. They decide to rob it after realizing they could make money off not just the business but the customers as well, as occurred during their previous heist. Moments after they initiate the hold-up, the scene breaks off and the title credits roll.

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As Jules Winnfield (Samuel L. Jackson) drives, Vincent Vega (John Travolta) talks about his experiences in Europe, from where he has just returned—the hash bars in Amsterdam; the French McDonald's and its "Royale with Cheese." The dress-suited pair are on their way to retrieve a briefcase from Brett (Frank Whaley), who has transgressed against their boss, gangster Marsellus Wallace. Jules tells Vincent how Marsellus had someone thrown off a fourth-floor balcony for giving his wife a foot massage. Vincent says that Marsellus has asked him to escort his wife while Marsellus is out of town. They conclude their banter and "get into character," which involves executing Brett in dramatic fashion after Jules recites a baleful "biblical" pronouncement.

edit] Vincent Vega and Marsellus Wallace's Wife

The "famous dance scene":[10] Vincent Vega (John Travolta) and Mia Wallace (Uma Thurman) do the twist at Jack Rabbit Slim's.

In a virtually empty cocktail lounge, aging prizefighter Butch Coolidge (Bruce Willis) accepts a large sum of money from Marsellus (Ving Rhames), agreeing to take a dive in his upcoming match. Butch and Vincent briefly cross paths as Vincent and Jules—now inexplicably dressed in T-shirts and shorts—arrive to deliver the briefcase. The next day, Vincent drops by the house of Lance (Eric Stoltz) and Jody (Rosanna Arquette) to score some high-grade heroin. He shoots up before driving over to meet Mrs. Mia Wallace (Uma Thurman) and take her out. They head to Jack Rabbit Slim's, a 1950s-themed restaurant staffed by lookalikes of the decade's pop icons. Mia recounts her experience acting in a failed television pilot, "Fox Force Five."

After participating in a twist contest, they return to the Wallace house with the trophy. While Vincent is in the bathroom, Mia finds his stash of heroin in his coat pocket. Mistaking it for cocaine, she snorts it and overdoses. Vincent rushes her to Lance's house for help. Together, they administer an adrenaline shot to Mia's heart, reviving her. Before parting ways, Mia and Vincent agree not to tell Marsellus of the incident.

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Television time for young Butch (Chandler Lindauer) is interrupted by the arrival of Vietnam veteran Captain Koons (Christopher Walken). Koons explains that he has brought a gold watch, passed down through generations of Coolidge men since World War I. Butch's father died of dysentery while in a POW camp, and at his dying request Koons hid the watch in his rectum for two years in order to deliver it to Butch. A bell rings, startling the adult Butch out of this reverie. He is in his boxing colors—it is time for the fight he has been paid to throw.

edit] The Gold Watch

Butch flees the arena, having won the bout. Making his getaway by taxi, he learns from the death-obsessed driver, Esmarelda VillaLobos (Angela Jones), that he killed the opposing fighter. Butch has double-crossed Marsellus, betting his payoff on himself at very favorable odds. The next morning, at the motel where he and his girlfriend, Fabienne (Maria de Medeiros), are lying low, Butch discovers that she has forgotten to pack the irreplaceable watch. He returns to his apartment to retrieve it, although Marsellus's men are almost certainly looking for him. Butch finds the watch quickly, but thinking he is alone, pauses for a snack. Only then does he notice a submachine gun on the kitchen counter. Hearing the toilet flush, Butch readies the gun in time to kill a startled Vincent Vega exiting the bathroom.

Butch drives away but while waiting at a traffic light, Marsellus walks by and recognizes him. Butch rams Marsellus with the car, then another automobile collides with his. After a foot chase the two men land in a pawnshop. The shopowner, Maynard (Duane Whitaker), captures them at gunpoint and ties them up in a half-basement area. Maynard is joined by Zed (Peter Greene); they take Marsellus to another room to rape him, leaving a silent masked figure referred to as "the gimp" to watch a tied-up Butch. Butch breaks loose and knocks out the gimp. He is about to flee when he decides to save Marsellus. As Zed is raping Marsellus on a pommel horse, Butch kills Maynard with a katana. Marsellus retrieves Maynard's shotgun, shooting Zed in the groin. Marsellus informs Butch that they are even with respect to the botched fight fix, so long as he never tells anyone about the rape and departs Los Angeles forever. Butch agrees and returns to pick up Fabienne on Zed's chopper.

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edit] The Bonnie Situation

The story returns to Vincent and Jules at Brett's. After they execute him, another man (Alexis Arquette) bursts out of the bathroom and shoots wildly at them, missing every time before an astonished Jules and Vincent can return fire. Jules decides this is a miracle and a sign from God for him to retire as a hit man. They drive off with one of Brett's associates, Marvin (Phil LaMarr), their informant. Vincent asks Marvin for his opinion about the "miracle," and accidentally shoots him in the face.

Forced to remove their bloodied car from the road, Jules calls upon the house of his friend Jimmy (Quentin Tarantino). Jimmy's wife, Bonnie, is due back from work soon and he is very anxious that she not encounter the scene. At Jules's request, Marsellus arranges for the help of Winston Wolf (Harvey Keitel). Wolf takes charge of the situation, ordering Jules and Vincent to clean the car, hide the body in the trunk, dispose of their own bloody clothes, and change into T-shirts and shorts provided by Jimmy. They drive the car to a junkyard, from where Wolf and the owner's daughter, Raquel (Julia Sweeney), head off to breakfast and Jules and Vincent decide to do the same.

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As Jules and Vincent eat breakfast in a coffee shop the discussion returns to Jules's decision to retire. In a brief cutaway, we see "Pumpkin" and "Honey Bunny" shortly before they initiate the hold-up from the movie's first scene. While Vincent is in the bathroom, the hold-up commences. "Pumpkin" demands all of the patrons' valuables, including Jules's mysterious case. Jules surprises "Pumpkin" (whom he calls "Ringo"), holding him at gunpoint. "Honey Bunny," hysterical, trains her gun on Jules. Vincent emerges from the restroom with his gun trained on her, creating a Mexican standoff. Reprising his pseudo-biblical passage, Jules expresses his ambivalence about his life of crime. As his first act of redemption, he allows the two robbers to take the cash they have stolen and leave, pondering how they were spared and leaving the briefcase to be returned to Marsellus, finishing the hitman's final job for his boss.

edit] Development and production

The first element of what would become the Pulp Fiction screenplay was written by Roger Avary in the fall of 1990:

Tarantino and Avary decided to write a short, on the theory that it would be easier to get made than a feature. But they quickly realized that nobody produces shorts, so the film became a trilogy, with one section by Tarantino, one by Avary, and one by a third director who never materialized. Each eventually expanded his section into a feature-length script....[11]

The initial inspiration was the three-part horror anthology film Black Sabbath (1963), by Italian filmmaker Mario Bava. The Tarantino–Avary project was provisionally titled "Black Mask", after the seminal hardboiled crime fiction magazine.[12] Tarantino's script was produced as Reservoir Dogs, his directorial debut; Avary's, titled "Pandemonium Reigns", would form the basis for the "Gold Watch" storyline of Pulp Fiction.[13]

With work on Reservoir Dogs completed, Tarantino returned to the notion of a trilogy film: "I got the idea of doing something that novelists get a chance to do but filmmakers don't: telling three separate stories, having characters float in and out with different weights depending on the story."[14] Tarantino explains that the idea "was basically to take like the oldest chestnuts that you've ever seen when it comes to crime stories—the oldest stories in the book.... You know, 'Vincent Vega and Marsellus Wallace's Wife'—the oldest story about...the guy's gotta go out with the big man's wife and don't touch her. You know, you've seen the story a zillion times."[8] "I'm using old forms of storytelling and then purposely having them run awry", he says. "Part of the trick is to take these movie characters, these genre characters and these genre situations and actually apply them to some of real life's rules and see how they unravel."[15]

Tarantino went to work on the script for Pulp Fiction in Amsterdam in March 1992.[16] He was joined there by Avary, who contributed "Pandemonium Reigns" to the project and participated in its rewriting as well as the development of the new storylines that would link up with it.[13] Two scenes originally written by Avary for the True Romance screenplay, exclusively credited to Tarantino, were incorporated into the opening of "The Bonnie Situation".[17] The notion of the crimeworld "cleaner" that became the heart of the episode was inspired by a short, Curdled, that Tarantino saw at a film festival. He cast the lead actress, Angela Jones, in Pulp Fiction and later backed the filmmakers' production of a feature-length version of Curdled.[18] The script included a couple of made-up commercial brands that would feature often in later Tarantino films: Big Kahuna burgers (a Big Kahuna soda cup appears in Reservoir Dogs) and Red Apple cigarettes.[19] As he worked on the script, Tarantino also accompanied Reservoir Dogs around the European film festivals. Released in the U.S. in October 1992, the picture was a critical and commercial success. In January 1993, the Pulp Fiction script was complete.[20]

Tarantino and his producer, Lawrence Bender, brought the script to Jersey Films, the production company run by Danny DeVito, Michael Shamberg, and Stacey Sher. Before even seeing Reservoir Dogs, Jersey had attempted to sign Tarantino for his next project.[21] Ultimately a development deal worth around $1 million had been struck—the deal gave A Band Apart, Bender and Tarantino's newly formed production company, initial financing and office facilities; Jersey got a share of the project and the right to shop the script to a studio.[22] Jersey had a distribution and "first look" deal with Columbia TriStar, which paid Tarantino for the right to consider exercising its option.[23] In February, Pulp Fiction appeared on a Variety list of films in preproduction at TriStar.[24] In June, however, the studio put the script into turnaround.[23] According to a studio executive, TriStar chief Mike Medavoy found it "too demented".[25] There were suggestions that TriStar was resistant to backing a film featuring a heroin user; there were also indications that the studio simply saw the project as too low-budget for its desired star-driven image.[26] Bender brought the script to Miramax, the formerly independent studio that had recently been acquired by Disney. Harvey Weinstein—co-chairman of Miramax, along with his brother, Bob—was instantly enthralled by the script and the company picked it up.[27] Pulp Fiction, the first Miramax project to get a green light after the Disney acquisition, was budgeted at $8.5 million.[28] It became the first movie that Miramax completely financed.[29] Helping hold costs down was the plan Bender executed to pay all the main actors the same amount per week, regardless of their industry status.[30] The biggest star to sign on to the project was Bruce Willis. Though he had recently appeared in several big-budget flops, he was still a major overseas draw. On the strength of his name, Miramax garnered $11 million for the film's worldwide rights, virtually ensuring its profitability.[31]

The Pulp Fiction shoot commenced on September 20, 1993.[32] The lead offscreen talent had all worked with Tarantino on Reservoir Dogs—cinematographer Andrzej Sekula, film editor Sally Menke, and production designer David Wasco. According to Tarantino, "[W]e had $8 million [sic]. I wanted it to look like a $20–25 million movie. I wanted it to look like an epic. It's an epic in everything—in invention, in ambition, in length, in scope, in everything except the price tag."[33] The film, he says, was shot "on 50 ASA film stock, which is the slowest stock they make. The reason we use it is that it creates an almost no-grain image, it's lustrous. It's the closest thing we have to 50s Technicolor."[34] The largest chunk of the budget—$150,000—went to creating the Jack Rabbit Slim's set.[35] It was built in a Culver City warehouse, where it was joined by several other sets as well as the film's production offices.[36] The diner sequence was shot on location in Inglewood at Pann's, known for its Googie architecture.[37] For the costumes, Tarantino took his inspiration from French director Jean-Pierre Melville, who believed that the clothes his characters wore were their symbolic suits of armor.[34] Tarantino cast himself in a modest-sized role as he had in Reservoir Dogs. One of his pop totems, Fruit Brute, a long-discontinued General Mills cereal, also returned from the earlier film.[38] The shoot wrapped on November 30.[39] Before Pulp Fiction's premiere, Tarantino convinced Avary to forfeit his agreed-on cowriting credit and accept a "story by" credit, so the line "Written and directed by Quentin Tarantino" could be used in advertising and onscreen.[40]

edit] Cast

Main article: List of Pulp Fiction characters

John Travolta as Vincent Vega: Tarantino cast Travolta in Pulp Fiction only because Michael Madsen, who had a major role—Vic Vega—in Reservoir Dogs, chose to appear in Kevin Costner's Wyatt Earp instead. Madsen was still rueing his choice over a decade later.[41] Harvey Weinstein pushed for Daniel Day-Lewis in the part.[42] Travolta accepted a bargain rate for his services—sources claim either $100,000 or $140,000—but the film's success and his Oscar nomination as Best Actor revitalized his career.[43] Travolta was subsequently cast in several hits including Get Shorty, in which he played a similar character, and the John Woo blockbuster Face/Off. In 2004, Tarantino discussed an idea for a movie starring Travolta and Madsen as the Vega brothers; the concept remains unrealized.[44]
Samuel L. Jackson as Jules Winnfield: Tarantino had written the part with Jackson in mind, but the actor nearly lost it after his first audition—Jackson assumed it was merely a reading—was overshadowed by Paul Calderon's. Harvey Weinstein convinced Jackson to audition a second time, and his performance of the final diner scene won over Tarantino.[45] Jules was originally scripted with a giant afro, but Tarantino and Jackson agreed on the Jheri-curled wig seen in the film.[46] (One reviewer took it as a "tacit comic statement about the ghettoization of blacks in movies".[47]) Jackson received an Oscar nomination for Best Supporting Actor. Calderon appears in the movie as Paul, Marsellus's right-hand man.
Uma Thurman as Mia Wallace: Miramax favored Holly Hunter or Meg Ryan for the role. Alfre Woodard and Meg Tilly were also considered, but Tarantino wanted Thurman after their first meeting.[40][48] She dominated most of the film's promotional material, appearing on a bed with cigarette in hand. She was nominated for the Best Supporting Actress Oscar and was launched into the celebrity A-list. She took little advantage of her newfound fame, choosing to not do any big-budget films for the next three years.[49] Thurman would later star in Tarantino's two Kill Bill movies.

Butch Coolidge (Bruce Willis), before the fight of his life. Tarantino said, "Bruce has the look of a 50s actor. I can't think of any other star that has that look."[50]

Bruce Willis as Butch Coolidge: Willis was a major star, but most of his recent films had been box-office disappointments. As described by Peter Bart, taking a role in the modestly budgeted film "meant lowering his salary and risking his star status, but the strategy...paid off royally: Pulp Fiction not only brought Willis new respect as an actor, but also earned him several million dollars as a result of his gross participation."[51] In conceiving the character, Tarantino said, "I basically wanted him to be like Ralph Meeker as Mike Hammer in Kiss Me Deadly [1955]. I wanted him to be a bully and a jerk...."[52]
Harvey Keitel as Winston Wolf or simply "The Wolf": The part was written specifically for Keitel, who had starred in Tarantino's Reservoir Dogs and was instrumental in getting it produced. In the filmmaker's words, "Harvey had been my favorite actor since I was 16 years old."[53] Keitel had played a character similarly employed as a "cleaner" in Point of No Return, released a year earlier, but the two parts are otherwise very different.
Tim Roth as "Pumpkin" or "Ringo": Roth had starred in Reservoir Dogs alongside Keitel and was brought on board again. He had used an American accent in the earlier film, but uses his natural, London one in Pulp Fiction. Though Tarantino had written the part specifically with Roth in mind, TriStar head Mike Medavoy preferred Johnny Depp or Christian Slater.[54]
Amanda Plummer as Yolonda or "Honey Bunny": Tarantino wrote the role for Plummer, specifically to partner Roth onscreen. Roth had introduced the actress and director, telling Tarantino, "I want to work with Amanda in one of your films, but she has to have a really big gun."[55] Plummer followed up with director Michael Winterbottom's Butterfly Kiss, in which she plays a serial killer.
Maria de Medeiros as Fabienne: Butch's girlfriend. Tarantino met the Portuguese actress while traveling with Reservoir Dogs around the European film festival circuit.[12] She had previously costarred with Thurman in Henry & June (1990), playing Anaïs Nin.
Ving Rhames as Marsellus Wallace: Before Rhames was cast, the part was offered to Sid Haig, who had appeared in many classic exploitation movies of the 1970s. Haig passed on the role.[56] According to Bender, Rhames gave "one of the best auditions I've ever seen."[48] His acclaimed performance led to his being cast in big-budget features such as Mission Impossible, Con Air, and Out of Sight.[57]
Eric Stoltz as Lance: Vincent's drug dealer. Courtney Love later reported that Kurt Cobain was originally offered the role of Lance; if he had taken it, Love would have played the role of his wife.[58]
Rosanna Arquette as Jody: Lance's wife. Pam Grier read for the role, but Tarantino didn't believe audiences would find it plausible for Lance to yell at her.[59] Grier was later cast as the lead of Tarantino's Jackie Brown. Ellen DeGeneres also read for Jody.[60]
Christopher Walken as Captain Koons: Walken appears in a single scene, devoted to the Vietnam veteran's monologue about the gold watch. In 1993, Walken had appeared in another small but pivotal role in the "Sicilian scene" in the Tarantino-written True Romance.

edit] Soundtrack

Main article: Pulp Fiction (soundtrack)

No film score was composed for Pulp Fiction, with Quentin Tarantino instead using an eclectic assortment of surf music, rock and roll, soul, and pop songs. Dick Dale's rendition of "Misirlou" plays during the opening credits. Tarantino chose surf music as the basic musical style for the film, but not, he insists, because of its association with surfing culture: "To me it just sounds like rock and roll, even Morricone music. It sounds like rock and roll spaghetti Western music."[61] Some of the songs were suggested to Tarantino by his friends Chuck Kelley and Laura Lovelace, who were credited as music consultants. Lovelace also appeared in the film as Laura, a waitress; she reprises the role in Jackie Brown.[62] The soundtrack album, Music from the Motion Picture Pulp Fiction, was released along with the film in 1994. The album peaked on the Billboard 200 chart at number 21.[63] The single, Urge Overkill's cover of the Neil Diamond song "Girl, You'll Be a Woman Soon", reached number 59.[64]

Estella Tincknell describes how the particular combination of well-known and obscure recordings helps establish the film as a "self-consciously 'cool' text. [The] use of the mono-tracked, beat-heavy style of early 1960s U.S. 'underground' pop mixed with 'classic' ballads such as Dusty Springfield's 'Son of a Preacher Man' is crucial to the film's postmodern knowingness." She contrasts the soundtrack with that of Forrest Gump, the highest-grossing film of 1994, which also relies on period pop recordings: "[T]he version of 'the sixties' offered by Pulp Fiction...is certainly not that of the publicly recognized counter-culture featured in Forrest Gump, but is, rather, a more genuinely marginal form of sub-culture based around a lifestyle—surfing, 'hanging'—that is resolutely apolitical." The soundtrack is central, she says, to the film's engagement with the "younger, cinematically knowledgeable spectator" it solicits.[65]

edit] Release and reception

Pulp Fiction premiered in May 1994 at the Cannes Film Festival. The Weinsteins "hit the beach like commandos", bringing the picture's entire cast over.[66] The film was unveiled at a midnight hour screening and caused a sensation.[67][68] It won the Palme d'Or, the festival's top prize, generating a further wave of publicity.[69] The first U.S. review of the film was published on May 23 in industry trade magazine Variety. Todd McCarthy called Pulp Fiction a "spectacularly entertaining piece of pop culture...a startling, massive success."[70] From Cannes forward, Tarantino was on the road continuously, promoting the film.[71] Over the next few months it played in smaller festivals around Europe, building buzz: Nottingham, Munich, Taormina, Locarno, Norway, and San Sebastian.[72] In late September, it opened the New York Film Festival. The New York Times published its review the day of the opening. Janet Maslin called the film a "triumphant, cleverly disorienting journey through a demimonde that springs entirely from Mr. Tarantino's ripe imagination, a landscape of danger, shock, hilarity and vibrant local color.... [He] has come up with a work of such depth, wit and blazing originality that it places him in the front ranks of American film makers."[68]

On October 14, 1994, Pulp Fiction went into general release in the United States. As Peter Biskind describes, "It was not platformed, that is, it did not open in a handful of theaters and roll out slowly as word of mouth built, the traditional way of releasing an indie film; it went wide immediately, into 1,100 theaters."[2] In the eyes of some cultural critics, Reservoir Dogs had given Tarantino a reputation for glamorizing violence. Miramax played with the issue in its marketing campaign: "You won't know the facts till you've seen the fiction", went one slogan.[73] Pulp Fiction was the top-grossing film at the box office its first weekend, edging out a Sylvester Stallone vehicle, The Specialist, which was in its second week and playing at more than twice as many theaters. Against its budget of $8.5 million and about $10 million in marketing costs, Pulp Fiction wound up grossing $107.93 million at the U.S. box office, making it the first "indie" film to surpass $100 million. Worldwide, it took in nearly $213 million.[74] In terms of domestic grosses, it was the tenth biggest film of 1994, even though it played on substantially fewer screens than any other film in the top 20.[75] Popular engagement with the film, such as speculation about the contents of the precious briefcase, "indicates the kind of cult status that Pulp Fiction achieved almost immediately."[76] As MovieMaker puts it, "The movie was nothing less than a national cultural phenomenon."[77] Abroad, as well: In Britain, where it opened a week after its U.S. release, not only was the film a big hit, but in book form its screenplay became the most successful in UK publishing history, a top-ten bestseller.[78]

The response of major American movie reviewers was widely favorable. Roger Ebert of the Chicago Sun-Times describing it as "so well-written in a scruffy, fanzine way that you want to rub noses in it—the noses of those zombie writers who take 'screenwriting' classes that teach them the formulas for 'hit films.'"[79] Richard Corliss of Time wrote, "It towers over the year's other movies as majestically and menacingly as a gang lord at a preschool. It dares Hollywood films to be this smart about going this far. If good directors accept Tarantino's implicit challenge, the movie theater could again be a great place to live in."[80] In Newsweek, David Ansen wrote, "The miracle of Quentin Tarantino's Pulp Fiction is how, being composed of secondhand, debased parts, it succeeds in gleaming like something new."[81] "You get intoxicated by it," wrote Entertainment Weekly's Owen Gleiberman, "high on the rediscovery of how pleasurable a movie can be. I'm not sure I've ever encountered a filmmaker who combined discipline and control with sheer wild-ass joy the way that Tarantino does."[47] "There's a special kick that comes from watching something this thrillingly alive", wrote Peter Travers of Rolling Stone. "Pulp Fiction is indisputably great."[82] Overall, the film attained exceptionally high ratings among U.S. reviewers: a 96% score at Rotten Tomatoes[83] and a Metascore of 94 on Metacritic.[84]

The Los Angeles Times was one of the few major news outlets to publish a negative review on the film's opening weekend. Kenneth Turan wrote, "The writer-director appears to be straining for his effects. Some sequences, especially one involving bondage harnesses and homosexual rape, have the uncomfortable feeling of creative desperation, of someone who's afraid of losing his reputation scrambling for any way to offend sensibilities."[85] Some who reviewed it in the following weeks took more exception to the predominant critical reaction than to Pulp Fiction itself. While not panning the film, Stanley Kauffman of The New Republic felt that "the way that [it] has been so widely ravened up and drooled over verges on the disgusting. Pulp Fiction nourishes, abets, cultural slumming."[86] Responding to comparisons between Tarantino's film and the work of French New Wave director Jean-Luc Godard, especially his first, most famous feature, Jonathan Rosenbaum of the Chicago Reader wrote, "The fact that Pulp Fiction is garnering more extravagant raves than Breathless ever did tells you plenty about which kind of cultural references are regarded as more fruitful—namely, the ones we already have and don't wish to expand."[87] Observing in the National Review that "[n]o film arrives with more advance hype", John Simon was unswayed: "titillation cures neither hollowness nor shallowness".[88]

Debate about the film spread beyond the review pages. Violence was often the theme. In the Washington Post, Donna Britt described how she was happy to not see Pulp Fiction on a recent weekend and thus avoid "discussing the rousing scene in which a gunshot sprays somebody's brains around a car interior".[89] Some commentators took exception to the movie's frequent use of the word "nigger". In the Chicago Tribune, Todd Boyd argued that the word's recurrence "has the ability to signify the ultimate level of hipness for white males who have historically used their perception of black masculinity as the embodiment of cool".[90] In Britain, James Wood, writing in The Guardian, set the tone for much subsequent criticism: "Tarantino represents the final triumph of postmodernism, which is to empty the artwork of all content, thus avoiding its capacity to do anything except helplessly represent our agonies.... Only in this age could a writer as talented as Tarantino produce artworks so vacuous, so entirely stripped of any politics, metaphysics, or moral interest."[91]

Around the turn of the year, Pulp Fiction was named Best Picture by the National Society of Film Critics, National Board of Review, Los Angeles Film Critics Association, Boston Society of Film Critics, Southeastern Film Critics Association, and Kansas City Film Critics Circle. Tarantino was named Best Director by all six of those organizations as well as by the New York Film Critics Circle and Chicago Film Critics Association. The screenplay won several prizes, with various awarding bodies ascribing credit differently. At the Golden Globe Awards, Tarantino, named as sole recipient of the Best Screenplay honor, failed to mention Avary in his acceptance speech.[92] In February 1995, the film received seven Oscar nominations—Best Picture, Director, Actor (Travolta), Supporting Actor (Jackson), Supporting Actress (Thurman), Original Screenplay, and Film Editing. At the ceremony the following month, Tarantino and Avary were announced as joint winners of the Oscar for Best Original Screenplay.[93] The furor around the film was still going strong: much of the March issue of Artforum was devoted to its critical dissection.[94] At the British Academy Film Awards, Tarantino and Avary shared the BAFTA Award for Best Original Screenplay, with Jackson winning for Best Supporting Actor.[95]

edit] Influence and reputation

Pulp Fiction quickly came to be regarded as one of the most significant films of its era. In 1995, in a special edition of Siskel & Ebert devoted to Tarantino, Gene Siskel argued that Pulp Fiction posed a major challenge to the "ossification of American movies with their brutal formulas". In Siskel's view,

the violent intensity of Pulp Fiction calls to mind other violent watershed films that were considered classics in their time and still are. Hitchcock's Psycho [1960], Arthur Penn's Bonnie and Clyde [1967], and Stanley Kubrick's A Clockwork Orange [1971]. Each film shook up a tired, bloated movie industry and used a world of lively lowlifes to reflect how dull other movies had become. And that, I predict, will be the ultimate honor for Pulp Fiction. Like all great films, it criticizes other movies.[96]

Ken Dancyger writes that its "imitative and innovative style"—like that of its predecessor, Reservoir Dogs—represents

a new phenomenon, the movie whose style is created from the context of movie life rather than real life. The consequence is twofold—the presumption of deep knowledge on the part of the audience of those forms such as the gangster films or Westerns, horror films or adventure films. And that the parody or alteration of that film creates a new form, a different experience for the audience.[97]

In a widely covered speech on May 31, 1995, Republican presidential candidate Bob Dole attacked the American entertainment industry for peddling "nightmares of depravity". Pulp Fiction was soon associated with his charges concerning gratuitous violence. Dole had not, in fact, mentioned the film; he cited two less celebrated movies based on Tarantino screenplays, Natural Born Killers and True Romance.[98] In September 1996, Dole did accuse Pulp Fiction—which he had not seen—of promoting "the romance of heroin".[99]

Paula Rabinowitz expresses the general film industry opinion that Pulp Fiction "simultaneously resurrected John Travolta and film noir".[100] In Peter Biskind's description, it created a "guys-with-guns frenzy".[101] The stylistic influence of Pulp Fiction soon became apparent. Less than a year after the picture's release, British critic Jon Ronson attended the National Film School's end-of-semester screenings and assessed the impact: "Out of the five student movies I watched, four incorporated violent shoot-outs over a soundtrack of iconoclastic 70s pop hits, two climaxed with all the main characters shooting each other at once, and one had two hitmen discussing the idiosyncrasies of The Brady Bunch before offing their victim. Not since Citizen Kane has one man appeared from relative obscurity to redefine the art of moviemaking."[102] Among the first Hollywood films cited as its imitators were Destiny Turns on the Radio (1995), in which Tarantino acted,[96] Things To Do in Denver When You're Dead (1995),[103] and 2 Days in the Valley (1996).[104] It "triggered a myriad of clones", writes Fiona Villella.[105] Pulp Fiction's effect on film form was still reverberating in 2007, when David Denby of The New Yorker credited it with initiating the ongoing cycle of disordered cinematic narratives.[106]

Its impact on Hollywood was deeper still. According to Variety, the trajectory of Pulp Fiction from Cannes launch to commercial smash "forever altered the game" of so-called independent cinema.[107] It "cemented Miramax's place as the reigning indie superpower",[108] writes Biskind. "Pulp became the Star Wars of independents, exploding expectations for what an indie film could do at the box office."[109] The film's large financial return on its small budget

transform[ed] the industry's attitude toward the lowly indies...spawning a flock of me-too classics divisions.... [S]mart studio executives suddenly woke up to the fact that grosses and market share, which got all the press, were not the same as profits.... Once the studios realized that they could exploit the economies of (small) scale, they more or less gave up buying or remaking the films themselves, and either bought the distributors, as Disney had Miramax, or started their own...copy[ing] Miramax's marketing and distribution strategies.[110]

In 2001, Variety, noting the increasing number of actors switching back and forth between expensive studio films and low-budget independent or indie-style projects, suggested that the "watershed moment for movie stars" came with the decision by Willis—one of Hollywood's highest-paid performers—to appear in Pulp Fiction.[111]

And its impact was even broader than that. It has been described as a "major cultural event", an "international phenomenon" that influenced television, music, literature, and advertising.[105][112] Not long after its release, it was identified as a significant focus of attention within the growing community of Internet users.[113] Adding Pulp Fiction to his roster of "Great Movies" in 2001, Roger Ebert called it "the most influential film of the decade".[114] Four years later, Time's Corliss wrote much the same: "(unquestionably) the most influential American movie of the 90s".[115]

Vincent and Jules Winnfield (Samuel L. Jackson) in their classic pose. This image represents Pulp Fiction on Time's "All-Time 100 Movies" list.

Several scenes and images from the film achieved iconic status; in 2008, Entertainment Weekly declared, "You'd be hard-pressed, by now, to name a moment from Quentin Tarantino's film that isn't iconic."[116] Jules and Vincent's "Royale with Cheese" dialogue became famous.[117] The adrenalin shot to Mia Wallace's heart is on Premiere's list of "100 Greatest Movie Moments".[118] The scene of Travolta and Thurman's characters dancing has been frequently homaged, most unambiguously in the 2005 film Be Cool, starring the same two actors.[119] The image of Travolta and Jackson's characters standing side by side in suit and tie, pointing their guns, has also become widely familiar. In 2007, BBC News reported that "London transport workers have painted over an iconic mural by 'guerrilla artist' Banksy.... The image depicted a scene from Quentin Tarantino's Pulp Fiction, with Samuel L Jackson and John Travolta clutching bananas instead of guns."[120] Certain lines were adopted popularly as catchphrases, in particular Marsellus's threat, "I'm 'a get medieval on your ass."[121] Jules's "Ezekiel" soliloquy was voted the fourth greatest movie speech of all time in a 2004 poll.[122]

Banksy's "famous mural" was painted in 2002 and painted over by municipal workers five years later.[123]

Pulp Fiction now appears in several critical assessments of all-time great films. In 2008, Entertainment Weekly named it the best film of the past quarter-century.[116] That same year, the American Film Institute's "Ten Top Ten" poll ranked it number 7 all-time in the gangster film genre.[124] In 2007, it was voted 94th overall on the AFI's "100 Years...100 Movies" list.[125] In 2005, it was named one of Time's "All-Time 100 Movies".[115] As of June 2008, it is number 9 on Metacritic's list of all-time highest scores.[126] The film ranks very highly in popular surveys. A 2008 Empire poll combining the opinions of readers, movie industry professionals, and critics named Pulp Fiction the ninth best film of all time.[127] In a 2007 poll of the online film community, it placed eleventh.[128] In a 2006 readers' poll by the British magazine Total Film, it ranked as the number 3 film in history.[129] It was voted as the fourth greatest film of all time in a nationwide poll for Britain's Channel 4 in 2001.[130]

edit] Critical analysis

Tarantino has stated that he originally planned "to do a Black Mask movie", referring to the magazine largely responsible for popularizing hardboiled detective fiction. "[I]t kind of went somewhere else".[131] Geoffrey O'Brien sees the result as connected "rather powerfully to a parallel pulp tradition: the tales of terror and the uncanny practiced by such writers as Cornell Woolrich [and] Fredric Brown.... Both dealt heavily in the realm of improbable coincidences and cruel cosmic jokes, a realm that Pulp Fiction makes its own."[132] In particular, O'Brien finds a strong affinity between the intricate plot mechanics and twists of Brown's novels and the recursive, interweaving structure of Pulp Fiction.[133] Philip French describes the film's narrative as a "circular movement or Möbius strip of a kind Resnais and Robbe-Grillet would admire."[134]

Robert Kolker sees the "flourishes, the apparent witty banality of the dialogue, the goofy fracturing of temporality [as] a patina over a pastiche. The pastiche...is essentially of two films that Tarantino can't seem to get out of his mind: Mean Streets [1973; directed by Martin Scorsese] and The Killing [1956; directed by Stanley Kubrick]."[135] He contrasts Pulp Fiction with postmodern Hollywood predecessors Hudson Hawk (1991; starring Willis) and Last Action Hero (1993; starring Arnold Schwarzenegger) that "took the joke too far...simply mocked or suggested that they were smarter than the audience" and flopped.[136] Todd McCarthy writes that the film's "striking widescreen compositions often contain objects in extreme close-up as well as vivid contrasts, sometimes bringing to mind the visual strategies of Sergio Leone", an acknowledged hero of Tarantino's.[70] To Martin Rubin, the "expansive, brightly colored widescreen visuals" evoke comedy directors such as Frank Tashlin and Blake Edwards.[137]

The movie's host of pop culture allusions, ranging from the famous image of Marilyn Monroe's skirt flying up over a subway grating to Jules addressing "Pumpkin" as "Ringo" because of his English accent, have led many critics to discuss it within the framework of postmodernism. Describing the film in 2005 as Tarantino's "postmodern masterpiece...to date", David Walker writes that it "is marked by its playful reverence for the 1950s...and its constantly teasing and often deferential references to other films". He characterizes its convoluted narrative technique as "postmodern tricksiness".[138] Calling the film a "terminally hip postmodern collage", Foster Hirsch finds Pulp Fiction far from a masterpiece: "authoritative, influential, and meaningless".[139] Catherine Constable takes the moment in which a needle filled with adrenaline is plunged into the comatose Mia's heart as exemplary. She proposes that it "can be seen as effecting her resurrection from the dead, simultaneously recalling and undermining the Gothic convention of the vampire's stake. On this model, the referencing of previous aesthetic forms and styles moves beyond...empty pastiche, sustaining an 'inventive and affirmative' mode of postmodernism."[140]

Mark T. Conard asks, "[W]hat is the film about?" and answers, "American nihilism."[141] Hirsch suggests, "If the film is actually about anything other than its own cleverness, it seems dedicated to the dubious thesis that hit men are part of the human family."[104] Richard Alleva argues that "Pulp Fiction has about as much to do with actual criminality or violence as Cyrano de Bergerac with the realities of seventeenth-century France or The Prisoner of Zenda with Balkan politics." He reads the movie as a form of romance whose allure is centered in the characters' nonnaturalistic discourse, "wise-guy literate, media-smart, obscenely epigrammatic".[142] In Alan Stone's view, the "absurd dialogue", like that between Vincent and Jules in the scene where the former accidentally kills Marvin, "unexpectedly transforms the meaning of the violence cliché.... Pulp Fiction unmasks the macho myth by making it laughable and deheroicizes the power trip glorified by standard Hollywood violence."[143] Stone reads the film as "politically correct. There is no nudity and no violence directed against women.... [It] celebrates interracial friendship and cultural diversity; there are strong women and strong black men, and the director swims against the current of class stereotype."[143]

Where Stone sees a celebration, Kolker finds a vacuum: "The postmodern insouciance, violence, homophobia, and racism of Pulp Fiction were perfectly acceptable because the film didn't pretend seriousness and therefore didn't mock it."[136] Calling it the "acme of postmodern nineties filmmaking", he explains, "the postmodern is about surfaces; it is flattened spatiality in which event and character are in a steady state of reminding us that they are pop-cultural figures."[144] According to Kolker,

That's why Pulp Fiction was so popular. Not because all audiences got all or any of its references to Scorsese and Kubrick, but because the narrative and spatial structure of the film never threatened to go beyond themselves into signification. The film's cycle of racist and homophobic jokes might threaten to break out into a quite nasty view of the world, but this nastiness keeps being laughed off—by the mock intensity of the action, the prowling, confronting, perverse, confined, and airless nastiness of the world Tarantino creates.[145]

Henry A. Giroux argues that Tarantino "empties violence of any critical social consequences, offering viewers only the immediacy of shock, humor, and irony-without-insight as elements of mediation. None of these elements gets beyond the seduction of voyeuristic gazing...[t]he facile consumption of shocking images and hallucinatory delight."[146]

edit] Homage as essence

edit] Cinema

Pulp Fiction is full of homages to other movies. "Tarantino's characters", writes Gary Groth, "inhabit a world where the entire landscape is composed of Hollywood product. Tarantino is a cinematic kleptomaniac—he literally can't help himself."[147] Two scenes in particular have prompted discussion of the film's highly intertextual style. Many have assumed that the dance sequence at Jack Rabbit Slim's was intended as a reference to Travolta's star-making performance as Tony Manero in the epochal Saturday Night Fever (1977); Tarantino, however, credits a scene in the Jean-Luc Godard film Bande à part (1964) with the inspiration. According to the filmmaker,

Everybody thinks that I wrote this scene just to have John Travolta dancing. But the scene existed before John Travolta was cast. But once he was cast, it was like, "Great. We get to see John dance. All the better."... My favorite musical sequences have always been in Godard, because they just come out of nowhere. It's so infectious, so friendly. And the fact that it's not a musical, but he's stopping the movie to have a musical sequence, makes it all the more sweet.[148]

Jerome Charyn argues that, beyond "all the better", Travolta's presence is essential to the power of the scene, and of the film:

Travolta's entire career becomes "backstory", the myth of a movie star who has fallen out of favor, but still resides in our memory as the king of disco. We keep waiting for him to shed his paunch, put on a white polyester suit, and enter the 2001 Odyssey club in Bay Ridge, Brooklyn, where he will dance for us and never, never stop. Daniel Day-Lewis couldn't have woken such a powerful longing in us. He isn't part of America's own mad cosmology.... Tony Manero [is] an angel sitting on Vince's shoulder.... [Vince and Mia's] actual dance may be closer to the choreography of Anna Karina's shuffle with her two bumbling gangster boyfriends in Bande à part, but even that reference is lost to us, and we're with Tony again....[149]

Estella Tincknell notes that while the "diner setting seems to be a simulacrum of a 'fifties' restaurant...the twist contest is a musical sequence which evokes 'the sixties,' while Travolta's dance performance inevitably references 'the seventies' and his appearance in Saturday Night Fever.... The 'past' thus becomes a more general 'pastness' in which the stylistic signifiers of various decades are loaded in to a single moment."[150] She also argues that in this passage the film "briefly shifts from its habitually ironic discourse to one that references the conventions of the classic film musical and in doing so makes it possible for the film to inhabit an affective space that goes beyond stylistic allusion."[150]

The pivotal moment in which Marsellus crosses the street in front of Butch's car and notices him evokes the scene in which Marion Crane's boss sees her under similar circumstances in Psycho.[151] Marsellus and Butch are soon held captive by Maynard and Zed, "two sadistic honkies straight out of Deliverance" (1972), directed by John Boorman.[143] Zed shares a name with Sean Connery's character in Boorman's follow-up, the science-fiction film Zardoz (1974). "Zed's dead" is one of the last lines spoken in that movie; in terms of the narrative chronology, it is the final utterance in Pulp Fiction. When Butch decides to rescue Marsellus, in Glyn White's words, "he finds a trove of items with film-hero resonances".[152] Critics have identified these weapons with a range of possible allusions:

Butch watches as Marsellus Wallace (Ving Rhames) tells Zed he's going to get worked on with a "pair of pliers and a blowtorch", a line lifted from Charley Varrick.

hammer—The Toolbox Murders (1978)[153]
baseball bat—Walking Tall (1973);[152] The Untouchables (1987)[153]
chainsaw—The Texas Chain Saw Massacre (1974);[152][153] The Evil Dead II (1987)[152]
katana (samurai sword)—many, including Seven Samurai (1954);[152][153] The Yakuza (1975);[152] Shogun Assassin (1980)[153]

At the conclusion of the scene, a portentous line of Marsellus's echoes one from the 1973 crime drama Charley Varrick, directed by another of Tarantino's heroes, Don Siegel; the name of the character who speaks it there is Maynard.[154]

David Bell argues that far from going against the "current of class stereotype", this scene, like Deliverance, "mobilize[s] a certain construction of poor white country folk—and particularly their sexualization...'rustic sexual expression often takes the form of homosexual rape' in American movies."[155] Stephen Paul Miller believes the Pulp Fiction scene goes down much easier than the one it echoes: "The buggery perpetrated is not at all as shocking as it was in Deliverance.... The nineties film reduces seventies competition, horror, and taboo into an entertainingly subtle adrenaline play—a fiction, a pulp fiction."[156] Giroux reads the rape scene homage similarly: "in the end Tarantino's use of parody is about repetition, transgression, and softening the face of violence by reducing it to the property of film history."[157] In Groth's view, the crucial difference is that "in Deliverance the rape created the film's central moral dilemma whereas in Pulp Fiction it was merely 'the single weirdest day of [Butch's] life.'"[158]

Neil Fulwood focuses on Butch's weapon selection, writing, "Here, Tarantino's love of movies is at its most open and nonjudgemental, tipping a nod to the noble and the notorious, as well as sending up his own reputation as an enfant terrible of movie violence. Moreover, the scene makes a sly comment about the readiness of cinema to seize upon whatever is to hand for its moments of mayhem and murder."[153] White asserts that "the katana he finally, and significantly, selects identifies him with...honourable heroes."[152] Conard argues that the first three items symbolize a nihilism that Butch is rejecting. The traditional Japanese sword, in contrasts, represents a culture with a well-defined moral code and thus connects Butch with a more meaningful approach to life.[159]

edit] Television

Robert Miklitsch argues that "Tarantino's telephilia" may be more central to the guiding sensibility of Pulp Fiction than the filmmaker's love for rock 'n' roll and even cinema:

Talking about his generation, one that came of age in the '70s, Tarantino has commented that the "number one thing we all shared wasn't music, that was a Sixties thing. Our culture was television." A random list of the TV programs referenced in Pulp Fiction confirms his observation: Speed Racer, Clutch Cargo, The Brady Bunch, The Partridge Family, The Avengers, The Three Stooges, The Flintstones, I Spy, Green Acres, Kung Fu, Happy Days, and last but not least, Mia's fictional pilot, Fox Force Five.[160]

"The above list, with the possible exception of The Avengers," writes Miklitsch, "suggests that Pulp Fiction has less of an elective affinity with the cinematic avant-gardism of Godard than with mainstream network programming."[161] Jonathan Rosenbaum had brought TV into his analysis of the Tarantino/Godard comparison, acknowledging that the directors were similar in wanting to cram everything they like onscreen: "But the differences between what Godard likes and what Tarantino likes and why are astronomical; it's like comparing a combined museum, library, film archive, record shop, and department store with a jukebox, a video-rental outlet, and an issue of TV Guide."[87]

Sharon Willis focuses on the way a television show (Clutch Cargo) marks the beginning of, and plays on through, the scene between young Butch and his father's comrade-in-arms. The Vietnam War veteran is played by Christopher Walken, whose presence in the role evokes his performance as a traumatized G.I. in the 1978 Vietnam War movie The Deer Hunter. Willis writes that "when Captain Koons enters the living room, we see Walken in his function as an image retrieved from a repertoire of 1970s television and movie versions of ruined masculinity in search of rehabilitation.... [T]he gray light of the television presiding over the scene seems to inscribe the ghostly paternal gaze."[162] Miklitsch asserts that, for some critics, the film is a "prime example of the pernicious ooze-like influence of mass culture exemplified by their bête noire: TV."[161] Kolker might not disagree, arguing that "Pulp Fiction is a simulacrum of our daily exposure to television; its homophobes, thugs and perverts, sentimental boxers and pimp promoters move through a series of long-take tableaux: we watch, laugh, and remain with nothing to comprehend."[145]

edit] Notable motifs

edit] The mysterious briefcase

Vincent gazes into the glowing case.

The combination of the mysterious suitcase is 666, the "number of the beast". Tarantino has said that there is no explanation for its contents—it is simply a MacGuffin, a pure plot device. Originally, the case was to contain diamonds, but this was seen as too mundane. For filming purposes, it contained a hidden orange light bulb that produced an otherworldly glow.[163] In a 2007 video interview with fellow director and friend Robert Rodriguez, Tarantino "reveals" the secret contents of the briefcase, but the film cuts out and skips the scene in the style employed in Tarantino and Rodriguez's Grindhouse (2007), with an intertitle that reads "Missing Reel". The interview resumes with Rodriguez discussing how radically the "knowledge" of the briefcase's contents alters one's understanding of the movie.[164]

Lily Carver, aka Gabrielle (Gaby Rodgers), gazes into the glowing case in Kiss Me Deadly.

Despite Tarantino's statements, many solutions to this "unexplained postmodern puzzle" have been proposed.[76] A strong similarity has often been observed with the 1955 film noir Kiss Me Deadly. That movie, whose protagonist Tarantino has cited as a source for Butch, features a glowing briefcase housing an atomic explosive.[165] In scholar Paul Gormley's view, this connection with Kiss Me Deadly, and a similar one with Raiders of the Lost Ark (1981), makes it possible to read the eerie glow as symbolic of violence itself.[166] To Susan Fraiman, the unseen contents represent "defended, mystified, male interiority. Much valued, much vaunted, and never finally shown, this radiant, indefinable softness is locked within a hard, exterior shell. Even Jules, who wants to lose the baggage of a barricaded self, walks out of the movie clutching it still."[167]

edit] Jules's Bible passage

Jules ritually recites what he describes as a biblical passage, Ezekiel 25:17, before he executes someone. We hear the passage three times—in the introductory sequence in which Jules and Vincent reclaim Marsellus's briefcase from the doomed Brett; that same recitation a second time, at the beginning of "The Bonnie Situation", which overlaps the end of the earlier sequence; and in the epilogue at the diner. The first version of the passage is as follows: “ The path of the righteous man is beset on all sides by the iniquities of the selfish and the tyranny of evil men. Blessed is he who in the name of charity and goodwill shepherds the weak through the valley of darkness, for he is truly his brother's keeper and the finder of lost children. And I will strike down upon thee with great vengeance and furious anger those who attempt to poison and destroy my brothers. And you will know my name is the Lord when I lay my vengeance upon thee. ”

The second version, from the diner scene, is identical except for the final line: "And you will know I am the Lord when I lay my vengeance upon you."

Jules delivers the famous pronouncement before killing Brett.

"And I will strike down..."

Conclusion of the "Ezekiel 25:17" monologue and Brett's murder

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Problems listening to this file? See media help.

While the final two sentences of Jules's speech are similar to the actual cited passage, the first two are fabricated from various biblical phrases.[168] The text of Ezekiel 25 preceding verse 17 indicates that God's wrath is retribution for the hostility of the Philistines. In the King James version from which Jules's speech is adapted, Ezekiel 25:17 reads in its entirety, "And I will execute great vengeance upon them with furious rebukes; and they shall know that I am the LORD, when I shall lay my vengeance upon them."[169] Tarantino's primary inspiration for the speech was the work of Japanese martial arts star Sonny Chiba. Its text derives from an almost identical creed used in either or both the Chiba movies Bodigaado Kiba (Bodyguard Kiba or The Bodyguard; 1973) and Karate Kiba (The Bodyguard; 1976).[170] In the 1980s television series Kage no Gundan (Shadow Warriors), Chiba's character would lecture the villain-of-the-week about how the world must be rid of evil before killing him.[171] A killer delivers a similar biblical rant in Modesty Blaise, the hardback but pulp-style novel Vincent is shown with in two scenes.[172]

Two critics who have analyzed the role of the speech find different ties between Jules's transformation and the issue of postmodernity. Gormley argues that unlike the film's other major characters—Marsellus aside—Jules is

linked to a "thing" beyond postmodern simulation.... [T]his is perhaps most marked when he moves on from being a simulation of a Baptist preacher, spouting Ezekiel because it was "just a cool thing to say...." In his conversion, Jules is shown to be cognizant of a place beyond this simulation, which, in this case, the film constructs as God.[173]

Adele Reinhartz writes that the "depth of Jules's transformation" is indicated by the difference in his two deliveries of the passage: "In the first, he is a majestic and awe-inspiring figure, proclaiming the prophecy with fury and self-righteousness.... In the second...he appears to be a different sort of man altogether.... [I]n true postmodern fashion, [he] reflects on the meaning of his speech and provides several different ways that it might pertain to his current situation."[174] Similar to Gormley, Conard argues that as Jules reflects on the passage, it dawns on him "that it refers to an objective framework of value and meaning that is absent from his life"; to Conard, this contrasts with the film's prevalent representation of a nihilistic culture.[175] Rosenbaum finds much less in Jules's revelation: "[T]he spiritual awakening at the end of Pulp Fiction, which Jackson performs beautifully, is a piece of jive avowedly inspired by kung-fu movies. It may make you feel good, but it certainly doesn't leave you any wiser."[176]

edit] The bathroom

Much of Pulp Fiction's action revolves around characters who are in the bathroom or need to use the toilet; Tarantino's other films also feature this trope, though to a lesser extent.[177] At Jack Rabbit Slim's, Mia goes to "powder her nose"—literally; she snorts coke in the restroom, surrounded by a bevy of women vainly primping. Butch and Fabienne play an extended scene in their motel bathroom, he in the shower, she brushing her teeth; the next morning, but just a few seconds later in screen time, there she is again, brushing her teeth. As Jules and Vincent confront Brett and two of his pals, a fourth man is hiding by the toilet—his actions will lead to Jules's transformative "moment of clarity". After Marvin's absurd death, Vincent and Jules wash up in Jimmie's bathroom, where they get into a contretemps over a bloody hand towel.[106] When the diner hold-up turns into a Mexican standoff, "Honey Bunny" whines, "I gotta go pee!"[178]

As described by Peter and Will Brooker, "In three significant moments Vincent retires to the bathroom [and] returns to an utterly changed world where death is threatened."[179] The threat increases in magnitude as the narrative progresses chronologically, and is realized in the third instance:

Vincent reads Modesty Blaise in the final scene (but number 1 in the chronology to the left).

Vincent and Jules’s diner breakfast and philosophical conversation is aborted by an armed robbery while Vincent is reading on the toilet.
While Vincent is in the bathroom worrying about the possibility of going too far with Marsellus's wife, Mia mistakes his heroin for cocaine, snorts it, and overdoses.
During a stakeout at Butch’s apartment, Vincent emerges from the toilet with his book and is killed by Butch.

In the Brookers' analysis, "Through Vince...we see the contemporary world as utterly contingent, transformed, disastrously, in the instant you are not looking."[179] Fraiman finds it particularly significant that Vincent is reading Modesty Blaise in two of these instances. She links this fact with the traditional derisive view of women as "the archetypal consumers of pulp":

Locating popular fiction in the bathroom, Tarantino reinforces its association with shit, already suggested by the dictionary meanings of "pulp" that preface the movie: moist, shapeless matter; also, lurid stories on cheap paper. What we have then is a series of damaging associations—pulp, women, shit—that taint not only male producers of mass-market fiction but also male consumers. Perched on the toilet with his book, Vincent is feminized by sitting instead of standing as well as by his trashy tastes; preoccupied by the anal, he is implicitly infantilized and homosexualized; and the seemingly inevitable result is being pulverized by Butch with a Czech M61 submachine gun. That this fate has to do with Vincent's reading habits is strongly suggested by a slow tilt from the book on the floor directly up to the corpse spilled into the tub.[180]

Willis reads Pulp Fiction in almost precisely the opposite direction, finding "its overarching project as a drive to turn shit into gold. This is one way of describing the project of redeeming and recycling popular culture, especially the popular culture of one's childhood, as is Tarantino's wont as well as his stated aim."[162] Despite that, argues Fraiman, "Pulp Fiction demonstrates...that even an open pulpophile like Tarantino may continue to feel anxious and emasculated by his preferences."[178]

edit] Awards

Pulp Fiction won the following major honors:[93][95][69][181][182] Category — Recipient(s)

Academy Awards
Best Original Screenplay — Quentin Tarantino and Roger Avary

BAFTA Awards
Best Supporting Actor — Samuel L. Jackson

Best Original Screenplay — Quentin Tarantino/Roger Avary

Cannes Film Festival
Palme d'Or — Pulp Fiction (Quentin Tarantino, director)

Golden Globe Awards
Best Screenplay (Motion Picture) — Quentin Tarantino

National Society of Film Critics
Best Film — Pulp Fiction (Quentin Tarantino, director)

Best Director — Quentin Tarantino

Best Screenplay — Quentin Tarantino and Roger Avary

It also received the following nominations:[93][95][181] Category — Nominee(s)

Academy Awards
Best Picture (Lawrence Bender, producer) | Best Director (Quentin Tarantino)

Best Actor (John Travolta)

Best Supporting Actress (Uma Thurman)| Best Supporting Actor (Samuel L. Jackson)| Best Film Editing (Sally Menke)

BAFTA Awards
Best Film (Lawrence Bender/Quentin Tarantino) | Achievement in Direction (Quentin Tarantino)

Best Actress in a Leading Role (Uma Thurman) | Best Actor in a Leading Role (John Travolta)

Best Cinematography (Andrzej Sekula) | Best Editing (Sally Menke) | Best Sound (Stephen Hunter Flick/Ken King/Rick Ash/David Zupancic)

Golden Globe Awards
Best Motion Picture (Drama) (Lawrence Bender) | Best Director (Motion Picture) (Quentin Tarantino)

Best Actor (Motion Picture—Drama) (John Travolta)

Best Supporting Actor (Motion Picture) (Samuel L. Jackson) | Best Supporting Actress (Motion Picture) (Uma Thurman)

In the balloting by the National Society of Film Critics, Samuel L. Jackson was the runner-up in both the Best Actor and the Best Supporting Actor categories.

留学考试准备第一步

2009-04-08T08:14:00.000-07:00

转一篇文章，很有道理，和切合我这个普通人的心理

Posted: March 20th, 2009 | Author: 李笑来
Filed under: 1800小时 - 高中两年慢跑冲进美国名校 |

第一步是“尽早考一次。”无论是托福还是雅思、抑或SAT、GRE、GMAT、LSAT等等。这些考试很少有人第一次就获得满意的成绩，无论之前怎么准备——别不信。所有这些留学考试本身设计的机理中就有一条：“允许考生参加任意次”。所以，不必担心多次考试中某一次差的成绩影响申请结果。

为什么要尽早考一次呢？因为学习动力最根本的来源是“清楚地知道自己有多差。”第一次甚至都可以无准备（即，所谓的“裸考”），权当作是一次“付费模考”。成绩出来之后，满意的话就省事儿了——这种情况对大多数人来说微乎其微；不满意的话，那成绩有多差，你就有多大的动力去学习。注意，市面上的模考题与真是考试差距还是相当大的。

很多人都是给自己半年的时间准备，可最终以失败告终。为什么呢？因为半年的时间无论如何都会飞速流逝的，但这半年时间里真的在“准备”么？之所以失败了，就是因为其实没有真正“准备”——期间大多数时间都被浪费掉了。为什么呢？因为没有真正的动力。

很多的时候，我们作为普通人，必然受到经历的局限。不是所有的事情都可以做到“仅凭心智就可以真正理解”。拿我自己做例子。有一句话说“人应该像明天就要死了一样在好好活在今天”。我曾经认为自己是信奉这句话的。可是最近的经历告诉我，过去我只是“认为”我理解这句话而已，离真正做到还差好大一段距离。

我是怎么知道这个的呢？是因为最近我被确诊出糖尿病。糖尿病现在并不是特别可怕的疾病，但也是很严重的疾病。目前它不能根治，只能与其抗争终生。一般来说，十年到二十年之间，就可能出现大量的并发症——心脏、眼睛、腿都可能会出现各种各样的问题。简单地说，患上这个疾病，就等于说“被判死刑，缓期若干年执行”——至于“若干年”是多少年，看你表现。我被确诊的那一瞬间，等于拿到了个“死刑缓期执行判决书”，马上感觉到自己看待周遭事物的看法变了——“像明天就要死了一样在好好活在今天”这句话与我来说竟然是需要重新理解的。

所以说，“尽早考一次”非常重要。因为这第一次考试成绩给你的是真正的学习动力，而不仅仅是你现在想想而已的“决心”。不要怕成绩差，第一次考试的成绩越差，只能说明“你的提高余地越大”而已。（当然，如果差到一定程度，比如托福三四十分——那么直接放弃也不失是一种正确的选择。）实际上，正是由于你尽早考了第一次，即意味着说你有更多的时间“真正玩命准备”。这些考试没什么了不起，只要真正努力了，我就没见过没有提高的。

Fashion design

2009-03-25T21:00:00.001-07:00

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Fashion design is the applied art dedicated to clothing and lifestyle accessories created within the cultural and social influences of a specific time. ' Fashion design differs from costume design due to its core product having a built in obsolescence usually of one to two seasons. A season is defined as either autumn/winter or spring/summer. Fashion design is generally considered to have started in the 19th century with Charles Frederick Worth who was the first designer to have his label sewn into the garments that he created. While all articles of clothing from any time period are studied by academics as costume design, only clothing created after 1858 could be considered as fashion design.

Some fashion designers are self-employed and design for individual clients. Other high-fashion designers cater to specialty stores or high-fashion department stores. These designers create original garments, as well as those that follow established fashion trends. Most fashion designers, however, work for apparel manufacturers, creating designs of men’s, women’s, and children’s fashions for the mass market. Large designer brands which have a 'name' as their brand such as Calvin Klein, Ralph Lauren, or Chanel are likely to be designed by a team of individual designers under the direction of a designer director.

Two seamstresses, Rue du Claire by Paul SignacContents [show]
1 History of fashion design
1.1 Culture beginnings
1.2 Late twentieth century
2 Types of fashion
3 Designing a collection
4 Areas of work
5 US Income
6 Fashion education
7 Areas of fashion design
8 Fashion design around the world
8.1 American fashion design
8.2 British fashion design
8.3 French fashion design
8.4 Italian fashion design
8.5 Japanese fashion design
9 Fashion design terms
10 Footnotes

[edit] History of fashion design
Main article: History of fashion design

[edit] Culture beginnings
The first fashion designer who was not simply a dressmaker was Charles Frederick Worth. Before the former draper set up his maison couture (fashion house) in Paris, clothing design and creation was handled by largely anonymous seamstresses, and high fashion descended from that worn at royal courts. Worth's success was such that he was able to dictate to his customers what they should wear, instead of following their lead as earlier dressmakers had done. The term couturier was in fact first created in order to describe him.

It was during this period that many design houses began to hire artists to sketch or paint designs for garments. The images were shown to clients, which was much cheaper than producing an actual sample garment in the workroom. If the client liked their design, they ordered it and the resulting garment made money for the house. Thus, the tradition of designers sketching out garment designs instead of presenting completed garments on models to customers began as an economy.

At this time in fashion history the division between haute couture and ready-to-wear was not sharply defined. The two separate modes of production were still far from being competitors, and, indeed, they often co-existed in houses where the seamstresses moved freely between made-to-measure and ready-made.

Around the start of the twentieth-century fashion magazines began to include photographs and became even more influential than in the past. In cities throughout the world these magazines were greatly sought-after and had a profound effect on public taste. Talented illustrators—among them Paul Iribe, George Lepape and George Barbier—drew exquisite fashion plates for these publications, which covered the most recent developments in fashion and beauty. Perhaps the most famous of these magazines was La Gazette du Bon Ton, which was founded in 1912 by Lucien Vogel and regularly published until 1925 (with the exception of the war years).

World War II created many radical changes in the fashion industry. After the war, Paris's reputation as the global center of fashion began to crumble and off-the-peg and mass-manufactured fashions became increasingly popular. A new youth style emerged in the Fifties, changing the focus of fashion forever. As the installation of central heating became more widespread the age of minimum-care garments began and lighter textiles and, eventually, synthetics, were introduced.

Faced with the threat of a factory-made fashion-based product, Parisian haute couture mounted its defenses, but to little effect, as it could not stop fashion leaking out onto the streets. Before long, whole categories of women hitherto restricted to inferior substitutes to haute couture would enjoy a greatly enlarged freedom of choice. Dealing in far larger quantities, production cycles were longer than those of couture workshops, which meant that stylists planning their lines for the twice-yearly collections had to try to guess more than a year in advance what their customers would want. A new power was afoot, that of the street, constituting a further threat to the dictatorship of the masters of coutures.

[edit] Late twentieth century
During the late twentieth century fashions began to criss-cross international boundaries with rapidity. Popular Western styles were adopted all over the world, and many designers from outside of the West had a profound impact on fashion. Synthetic materials such as Lycra, Spandex, and viscose became widely-used, and fashion, after two decades of looking to the future, once again turned to the past for integration. Currently, modern fashion has seen a reference to technology such as designers Hussein and Miuccia Prada who have introduced industrial textiles and modern technology into their fall collections.

[edit] Types of fashion
There are three main categories of fashion design, although these may be split up into additional, more specific categories:

Haute couture The type of fashion design which predominated until the 1950s was "made-to-measure" or haute couture, (French for high-fashion). The term made-to-measure may be used for any garment that is created for a specific client. Haute couture, however, is a protected term which can only be officially used by companies that meet certain well-defined standards set by the Chambre Syndicale de la Couture. Nonetheless, many ready-to-wear, and even mass market labels, claim to produce haute couture, when in fact, according to established standards, they do not. A couture garment is made to order for an individual customer, and is usually made from high-quality, expensive fabric, sewn with extreme attention to detail and finish, often using time-consuming, hand-executed techniques. Look and fit take priority over the cost of materials and the time it takes to make.

Ready-to-wear Ready-to-wear clothes are a cross between haute couture and mass market. They are not made for individual customers, but great care is taken in the choice and cut of the fabric. Clothes are made in small quantities to guarantee exclusivity, so they are rather expensive. Ready-to-wear collections are usually presented by fashion houses each season during a period known as Fashion Week. This takes place on a city-wide basis and occurs twice per year.

Mass market Currently the fashion industry relies more on mass market sales. The mass market caters for a wide range of customers, producing ready-to-wear clothes in large quantities and standard sizes. Cheap materials, creatively used, produce affordable fashion. Mass market designers generally adapt the trends set by the famous names in fashion. They often wait around a season to make sure a style is going to catch on before producing their own versions of the original look. In order to save money and time, they use cheaper fabrics and simpler production techniques which can easily be done by machine. The end product can therefore be sold much more cheaply.

[edit] Designing a collection
This article's tone or style may not be appropriate for Wikipedia. Specific concerns may be found on the talk page. See Wikipedia's guide to writing better articles for suggestions. (July 2008)

Many designers carefully research and plan a collection so that all the items in it complement each other, and have the particular fashion look which the company is known for or is going for. Oftentimes, a designer will look at what the fashion directions have been in previous seasons, keep an eye on what others in the fashion business are doing, and read fashion forecasting magazines. They also rely on knowledge of their own customers to see which styles succeeded and which were less popular in past seasons. Such research is combined with creative ideas to develop a theme for a collection. Other considerations must be taken into account as well, such as which season the collection is designed for (e.g. choosing thinner, lighter fabrics for summer; thicker, warmer fabrics for winter).

Designing a garment

The design: Different designers work in different ways. Some sketch their ideas on paper, others drape fabric on a dress stand.
Making a card pattern: When the designer is completely satisfied with the fit of the toile (or muslin), they show it to a professional pattern maker who then makes the finished, working version of the pattern out of card. The pattern maker's job is very precise and painstaking. The fit of the finished garment depends on their accuracy.
The finished dress: Finally, a sample garment is made up in the proper fabric and tested on a fitting model.

[edit] Areas of work
There are three main ways in which designers can work:

Working freelance: Freelance designers works for themselves. They sell their work to fashion houses, direct to shops, or to clothing manufacturers. The garments bear the buyer's label.

Working In-house: In-house designers are employed full-time by one fashion company. Their designs are the property of that company, and cannot be sold to anyone else.

Own Label: Fashion designers often set up their own companies. A lot of designers find this more satisfying than working for someone else, as their designs are sold under their own label.

[edit] US Income
Most fashion designers earn between $13,440 and $93,000. The U.S. Bureau of Labor Statistics reports an average annual income of $67,370 for fashion designers in 2005. Median annual earnings for fashion designers were $48,530 (£26,019) in 2000. The middle 50 percent earned between $34,800 (£18,658) and $73,780 (£39,557). The lowest 10 percent earned less than $24,710 (£13,248), and the highest 10 percent earned more than $103,970 (£55,743). Median annual earnings were $52,860 (£28,340) in apparel, piece goods, and notions - the industry employing the largest numbers of fashion designers.[1]

[edit] Fashion education

A classroom filled with sewing machines and mannequins.
A student fashion show, 2007Most fashion designers today have attended some kind of art school. There are a number of well known fashion design schools worldwide. Possibly the most famous is Central Saint Martins College of Art and Design in London. Alumni of St Martins include John Galliano, Stella McCartney, Alexander McQueen, Arkadius and Hussein Chalayan. Other notable London Fashion Schools include the London College of Fashion,The Royal College of Arts in London and the University of Westminster, whose alumni include Vivienne Westwood, Christopher Bailey, and Stuart Vevers.

Notable American fashion design schools include Parsons The New School for Design and Fashion Institute of Technology (F.I.T.) in New York City, Lasell College in Newton, Massachusetts, Drexel University and Moore College in Philadelphia, Woodbury University, The Fashion Institute of Design and Merchandising (F.I.D.M) and A.I.U. in Los Angeles alumns include Uriel Saenz and Ashley Paige, and more specialized in French Haute Couture techniques,Academy of Couture Art in West Hollywood. According to the annual survey from US News, Parsons has recently lost its position as the top school in the U.S. for graduate art programs; now the School of the Art Institute of Chicago (S.A.I.C) has shifted up in the list and taken its place. This is being attributed to Parsons' loss of Tim Gunn as a faculty member of their fashion program, who resigned to become the Creative Director for Liz Claiborne. SAIC: Founded as the Chicago Academy of Design in 1866 by a collective of studio artists, the institution went through many changes before the turn of the century, some necessitated by the Great Chicago Fire of 1871. The collecting arm of the School was founded in 1872, and The Art Institute of Chicago was born in 1882 to accommodate a distinct museum and school. The Art Institute moved to its current iconic location on Michigan Avenue after the World's Columbian Exposition in 1893, and it remains the largest museum-school partnership in the country. Notable fashion alumni include Halston, Gemma Kahng, and Cynthia Rowley.

[edit] Areas of fashion design
Many professional fashion designers start off by specializing in a particular area of fashion. The smaller and the more specific the market, the more likely a company is to get the right look and feel to their clothes. It is also easier to establish oneself in the fashion industry if a company is known for one type of product, rather than several products. Once a fashion company becomes established (that is, has regular buyers and is well-known by both the trade and the public), it may decide to expand into a new area. If the firm has made a name for the clothes it already produces, this helps to sell the new line. It is usually safest for a company to expand into an area similar to the one it already knows. For example, a designer of women's sportswear might expand into men's sportswear. The chart below shows the areas in which many designers choose to specialize.

Area Brief Market
Women's Day wear Practical, comfortable, fashionable Haute couture, ready-to-wear, mass market
Women's Evening wear Glamorous, sophisticated, apt for the occasion Haute couture, ready-to-wear, mass market
Women's Lingerie Glamorous, comfortable, washable Haute Couture, ready-to-wear, mass market
Men's Day wear Casual, practical, comfortable Tailoring, ready-to-wear, mass market
Men's Evening wear Smart, elegant, formal, apt for the occasion Tailoring, ready-to-wear, mass market
Girls' Wear Pretty, colorful, practical, washable, inexpensive Ready-to-wear, mass market
Teenage Wear Highly fashion-conscious, comfortable, inexpensive Ready-to-wear, mass market
Sportswear Comfortable, practical, well-ventilated, washable Ready-to-wear, mass market
Knitwear Right weight and color for the season Ready-to-wear, mass market
Outerwear Stylish, warm, right weight and color for the season Ready-to-wear, mass market
Bridal wear Sumptuous, glamorous, classic Haute couture, ready-to-wear, mass market
Accessories Striking, fashionable Haute couture, ready-to-wear, mass market

[edit] Fashion design around the world
Most major countries have their own fashion industry, including Belgium, Spain, Portugal, Brazil, India, The Netherlands, Germany, Poland, and Australia. However, only five nations have established truly international reputations in fashion design. These countries are France, the United Kingdom, the United States of America, Italy, and Japan.

[edit] American fashion design
The majority of American fashion houses are based in New York, although there are also a significant number in Los Angeles, where a substantial percentage of clothing manufactured in the US is actually made, Miami, and Chicago, which was once a center of American fashion. American fashion design is dominated by a clean-cut, casual style, reflecting the athletic, health-conscious lifestyles of many American city-dwellers. A designer who helped to set the trend in the United States for sport-influenced day wear throughout the 1940s and 50's was Claire McCardell. Many of her designs have been revived in recent decades. More modern influences on the American look have been Calvin Klein, Ralph Lauren, Anna Sui, Donna Karan, Kenneth Cole, Marc Jacobs, Michael Kors, and Tommy Hilfiger.

[edit] British fashion design
As in France, the majority of British fashion houses are based in the capital, London. British fashion houses are associated with a very traditional, British style: elegant, yet conservative cuts, fine yet not overly extravagant materials and a sort of noble, even 'imperial' elegance, such as that of traditional 'Fifties debutantes' gowns, compared to the French 'chic'. The first fashion designer, Charles Worth, was a native of Britain, although he made his name in Paris in the 19th century. British Designers include Vivienne Westwood, Paul Smith, John Galliano, Alexander McQueen, Burberry, Stella McCartney, Matthew Williamson, and Christopher Kane.

[edit] French fashion design
Most French fashion houses are in Paris, which is the capital of French fashion. Traditionally, French fashion is chic and stylish, defined by its sophistication, cut, and smart accessories. Among the many Parisian couture houses are Louis Vuitton, Chanel, Christian Dior, Givenchy, and Yves Saint Laurent, who display their work at the designer collections that are held twice a year.

[edit] Italian fashion design
Most of the older Italian couturiers are in Rome. However, Milan is the Italian fashion capital, and it is the exhibition venue for their collections. Italian fashion features casual elegance and luxurious fabrics. The first Italian luxury brand was Salvatore Ferragamo (who has exported exquisite hand-made shoes to the U.S. since the 1920s); among the best-known, exclusive fashion names, Gucci is the greatest-selling Italian fashion brand, with worldwide sales of $7.158 billion dollars. [1] Other well-known Italian fashion houses include: Valentino Garavani, Dolce & Gabbana, Emilio Pucci, Roberto Cavalli, Versace, Giorgio Armani and Prada.

[edit] Japanese fashion design
Most Japanese fashion houses are in Tokyo. The Japanese look is loose and unstructured (often resulting from complicated cutting), colours tend to the sombre and subtle, and richly textured fabrics. Famous Japanese designers are Yohji Yamamoto, Kenzo, Issey Miyake (masterful drape and cut), and Comme des Garçons 's Rei Kawakubo, who developed a new way of cutting (comparable to Madeleine Vionnet's innovation in the 1930s).

[edit] Fashion design terms
A fashion designer conceives garment combinations of line, proportion, color, and texture. While sewing and pattern-making skills are beneficial, they are not a pre-requisite of successful fashion design. Most fashion designers are formally trained or apprenticed.
A pattern maker (or pattern cutter) drafts the shapes and sizes of a garment's pieces. This may be done manually with paper and measuring tools or by using an AutoCAD computer software program. Another method is to drape fabric directly onto a dress form. The resulting pattern pieces can be constructed to produce the intended design of the garment and required size. Formal training is usually required for working as a pattern marker.
A tailor makes custom designed garments made to the client's measure; especially suits (coat and trousers, jacket and skirt, et cetera). Tailors usually undergo an apprenticeship or other formal training.
A textile designer designs fabric weaves and prints for clothes and furnishings. Most textile designers are formally trained as apprentices and in school.
A stylist co-ordinates the clothes, jewelry, and accessories used in fashion photography and catwalk presentations. A stylist may also work with an individual client to design a coordinated wardrobe of garments. Many stylists are trained in fashion design. However, many are not and simply have a knack for pulling great looks together. They are also referred to as personal shoppers.
A buyer selects and buys the mix of clothing available in retail shops, department stores and chain stores. Most fashion buyers are trained in business and/or fashion studies.
A seamstress sews ready to wear or mass produced clothing by hand or with a sewing machine, either in a garment shop or as a sewing machine operator in a factory. She (or he) may not have the skills to make (design and cut) the garments, or to fit them on a model.
A teacher of fashion design teaches the art and craft of fashion design in art or fashion school.
A custom clothier makes custom-made garments to order, for a given customer.
A dressmaker specializes in custom-made women's clothes: day, cocktail, and evening dresses, business clothes and suits, trousseaus, sports clothes, and lingerie.
An illustrator draws and paints clothing designs for commercial use.
A model wears and displays clothes at fashion shows and in photographs.
A fit model aids the fashion designer by wearing and commenting on the fit of clothes during their design and pre-manufacture. Fit models need to be a particular size for this purpose.
A fashion journalist writes fashion articles describing the garments presented or fashion trends, for magazines or newspapers.
An alterations specialist (alterationist) adjusts the fit of completed garments, usually ready-to-wear, and sometimes re-styles them. NOTE: despite tailors altering garments to fit the client, not all alterationists are tailors.
A wardrobe consultant or fashion advisor recommends styles and colors that are flattering to the client.
A photographer photographs the clothes on fashion models for use in magazines, newspapers, or adverts.
A fashion show producer is a person or firm that organizes runway/catwalk shows.

[edit] Footnotes
^ "Best Global Brands: The 100 Most Valuable Brands", Vera Bradley BusinessWeek

f alphabet

2009-03-25T20:40:00.000-07:00

城市

London

Paris

NewYork

Milan

类型

RTW
Ready-to-Wear Today
Ready-to-wear has rather different connotations in the spheres of fashion and classic clothing. In the fashion industry, designers produce ready-to-wear clothing intended to be worn without significant alteration, because it is by far the most economical, efficient, and profitable way to produce garments. They use standard patterns, factory equipment, and faster construction techniques to keep costs low, compared to a custom-sewn version of the same item. Some fashion houses or fashion designers create ready-to-wear lines that are mass-produced and industrially manufactured, while others offer lines that are very exclusive and produced only in limited numbers for a limited time. Whatever the quantity produced, these garments are never one-of-a-kind.

[edit] Haute Couture and Bespoke
The antithesis of ready-to-wear is different depending on whether it concerns women's or men's fashion. In women's fashion high end clothing made partly incorporating features requested by the client and to her exact measurements is called haute couture. In menswear, it is usually called bespoke. In menswear, one further distinguishes between made-to-measure (or 'semi-bespoke'), in which a standard pattern is adapted to the customer's measurements, and (full) bespoke, in which a new design is created from scratch for each customer. Savile Row is a famous district in London legendary for its bespoke tailoring. Charvet in Paris is an example[1] of a famous men's bespoke shirtmaker which offers both a high-end ready-to-wear as well as a bespoke service.

The top tailors of traditional clothing, such as traditional Savile Row establishments, do not generally diversify, although a few have; in this case, the ready-to-wear clothing is not actually made 'in house', but is a re-branded garment. An example of a firm that has done this is Gieves and Hawkes. Many of the larger establishments, such as Anderson & Sheppard, Henry Poole, or Huntsman will not produce ready-to-wear clothing, and, at much cheaper rates than the female haute couture houses, are able to attract enough buyers to remain profitable on bespoke clothing alone. A large factor in this decision is a fear of alienating traditional customers, who might see ready-to-wear as tarnishing the reputation of the establishment. Such perceptions are based on issues caused by the lower price, and include problems such as a worse fit, lower quality construction (for example fused canvasing which shortens the garment's life), and using lower quality fabric. In actual fact, keen to avoid such criticisms, houses like Gieves and Hawkes have been careful to sell clothes with traditional cloth and construction wherever possible. In the shoe industry, most bespoke manufacturers do sell ready-to-wear items, but again they are usually not produced by the actual firm, being bought in from the exclusively ready-to-wear manufacturers and rebranded.

Fashion houses that produce a women's haute couture line, such as Chanel, Dior, and Lacroix or Torrente by Julien Fournié, also produce a ready-to-wear line, which returns a greater profit due to the higher volume turnover of garments and greater availability of the clothing. Relative to couture, ready-to-wear clothing is often more practical and informal, though this may not always be the case. The construction of ready-to-wear clothing is also held to different standard than that of haute couture due to its industrial nature. High-end ready-to-wear lines are sometimes based upon a famous gown or pattern that is then duplicated and advertised to raise the visibility of the designer.

[edit] Collections
Ready-to-wear collections are usually presented by fashionable couture houses each season during a period known as Fashion Week. This takes place on a city-wide basis (London, New York, Paris, Milan, Los Angeles) and occurs twice a year. Collections for autumn/winter are shown early in the year, usually around February, and spring/summer collections are shown around September. Ready-to-wear fashion weeks occur separately and earlier than those of haute couture. Ready-to-wear shows do not always feature the actual garments to be sold later in the year. The key word wearability is used in the press and industry to describe how different the designs featured in a show will be from the garments sold in stores.

[edit] Notes and references
^ Art of Textile Designing. Global Media. ISBN 8189940031

CTR
Haute couture (French for "high sewing" or "high dressmaking"; pronounced [oːt kutyʁ]) refers to the creation of exclusive custom-fitted clothing. Haute couture is made to order for a specific customer, and it is usually made from high-quality, expensive fabric and sewn with extreme attention to detail and finish, often using time-consuming, hand-executed techniques.

It originally referred to Englishman Charles Frederick Worth's work, produced in Paris in the mid-nineteenth century. In modern France, haute couture is a "protected name" that can be used only by firms that meet certain well-defined standards. However, the term is also used loosely to describe all high-fashion custom-fitted clothing, whether it is produced in Paris or in other fashion capitals such as Milan, London, Rome, New York and Tokyo.

The term can refer to:

the fashion houses or fashion designers that create exclusive and often trend-setting fashions
the fashions created
Contents [show]
1 Legal status
1.1 Members of the Chambre Syndicale de la Haute Couture
2 History
3 See also
4 References
5 External links

[edit] Legal status
In France, the term haute couture is protected by law and is defined by the Chambre de commerce et d'industrie de Paris based in Paris, France. Their rules state that only "those companies mentioned on the list drawn up each year by a commission domiciled at the Ministry for Industry are entitled to avail themselves" of the label haute couture. The criteria for haute couture were established in 1945 and updated in 1992.

To earn the right to call itself a couture house and to use the term haute couture in its advertising and any other way, members of the Chambre syndicale de la haute couture must follow these rules:

Design made-to-order for private clients, with one or more fittings.
Have a workshop (atelier) in Paris that employs at least fifteen people full-time.
Each season (i.e., twice a year), present a collection to the Paris press, comprising at least thirty-five runs/exits with outfits for both daytime wear and evening wear.
However, the term haute couture may have been misused by ready-to-wear brands since the late 1980s, so that its true meaning may have become blurred with that of prêt-à-porter (the French term for ready-to-wear fashion) in the public perception. Every haute couture house also markets prêt-à-porter collections, which typically deliver a higher return on investment than their custom clothing[citation needed]. In fact, much of the haute couture displayed at fashion shows today is rarely sold; it is created to enhance the prestige of the house[citation needed]. Falling revenues have forced a few couture houses to abandon their less profitable couture division and concentrate solely on the less prestigious prêt-à-porter. These houses, such as Italian designer Roberto Capucci, all of whom have their workshops in Italy, are no longer considered haute couture.

Many top designer fashion houses, such as Chanel, use the word for some of their special collections. These collections are often not for sale or they are very difficult to purchase. Sometimes, "haute couture" doesn't mean just creation of new models of cloth wear, but it's also a type of fine art, like any other ones, as sculpture, painting, music and more. Moreover, "haute couture" can even include all of the mentioned components. [1]

[edit] Members of the Chambre Syndicale de la Haute Couture
The fashion houses listed on the definitive schedule for Haute-Couture Spring/Summer 2009 are:[2]

Official members
Adeline André
Anne Valérie Hash
Chanel
Christian Dior
Christian Lacroix
Dominique Sirop
Franck Sorbier
Givenchy
Jean Paul Gaultier
Maurizio Galante
Stephane Rolland

Correspondent members (foreign)
Elie Saab
Giorgio Armani
Maison Martin Margiela
Valentino

Guest members
Adam Jones
Alexis Mabille
Boudicca
Cathy Pill
Christophe Josse
Felipe Oliveira Baptista
Gustavo Lins
Jean-Paul Knott
Josep Font
Lefranc.Ferrant
Marc Le Bihan
Richard René
Udo Edling

Accessories
On Aura Tout Vu

In the 2008 Spring/Summer Haute Couture week, Guest members included Eymeric François, Gérald Watelet, Nicolas Le Cauchois and On aura tout vu.[3] In the 2008/2009 Fall/Winter Haute Couture week, Emanuel Ungaro showed as an Official Member and WU YONG [1] as a Guest member.[4]

Former members

Atelier Versace
Elsa Schiaparelli
Emilio Pucci
Chado Ralph Rucci
Erica Spitulski
Erik Tenorio
Fred Sethal
Guy Laroche
Hanae Mori

Jean Patou
Jean-Louis Scherrer
Lanvin
Loris Azzaro
Louis Feraud
Mainbocher
Marcel Rochas

Nina Ricci
Paco Rabanne
Pierre Balmain
Pierre Cardin
Ralph Rucci
Torrente
Yves Saint Laurent
Gai Mattiolo
Anna May

[edit] History
This article does not cite any references or sources. Please help improve this article by adding citations to reliable sources. Unverifiable material may be challenged and removed. (August 2008)

French leadership in European fashion may perhaps be dated from the 18th century, when the art, architecture, music, and fashions of the French court at Versailles were imitated across Europe[citation needed]. Visitors to Paris brought back clothing that was then copied by local dressmakers. Stylish women also ordered fashion dolls dressed in the latest Parisian fashion to serve as models.

As railroads and steamships made European travel easier, it was increasingly common for wealthy women to travel to Paris to shop for clothing and accessories. French fitters and dressmakers were commonly thought to be the best in Europe, and real Parisian garments were considered better than local imitations.

The couturier Charles Frederick Worth (October 13, 1826–March 10, 1895), is widely considered the father of haute couture as it is known today. Although born in Bourne, Lincolnshire, England, Worth made his mark in the French fashion industry. Revolutionizing how dressmaking had been previously perceived, Worth made it so the dressmaker became the artist of garnishment: a fashion designer. While he created one-of-a-kind designs to please some of his titled or wealthy customers, he is best known for preparing a portfolio of designs that were shown on live models at the House of Worth. Clients selected one model, specified colors and fabrics, and had a duplicate garment tailor-made in Worth's workshop. Worth combined individual tailoring with a standardization more characteristic of the ready-to-wear clothing industry, which was also developing during this period.

Following in Worth's footsteps were Callot Soeurs, Patou, Poiret, Vionnet, Fortuny, Lanvin, Chanel, Mainbocher, Schiaparelli, Balenciaga, and Dior. Some of these fashion houses still exist today, under the leadership of modern designers.

In the 1960s a group of young designers who had trained under men like Dior and Balenciaga left these established couture houses and opened their own establishments. The most successful of these young designers were Yves Saint Laurent, Pierre Cardin, André Courrèges, and Emanuel Ungaro. Japanese native and Paris-based Hanae Mori was also successful in establishing her own line.

Lacroix is perhaps the most successful of the fashion houses to have been started in the late 20th century. Other new houses have included Jean-Paul Gaultier and Thierry Mugler.

For all these fashion houses, custom clothing is no longer the main source of income, often costing much more than it earns through direct sales; it only adds the aura of fashion to their ventures in ready-to-wear clothing and related luxury products such as shoes and perfumes, and licensing ventures that earn greater returns for the company. Excessive commercialization and profit-making can be damaging, however. Cardin, for example, licensed with abandon in the 1980s and his name lost most of its fashionable cachet when anyone could buy Cardin luggage at a discount store.

The 1960s also featured a revolt against established fashion standards by mods, rockers, and hippies, as well as an increasing internationalization of the fashion scene. Jet travel had spawned a jet set that partied—and shopped—just as happily in New York as in Paris. Rich women no longer felt that a Paris dress was necessarily better than one sewn elsewhere. While Paris is still pre-eminent in the fashion world, it is no longer the sole arbiter of fashion.

[edit] See also
Fédération française de la couture
Fashion designer
Fashion Week
Designer label
Luxury brand
List of grands couturiers
Business cluster

[edit] References
^ Wuyong - Dancing In A Haute Couture Debut
^ "Haute-Couture Spring Summer 2009 Definitive schedule". http://www.modeaparis.com/va/collections/2009ephc/index.html. Retrieved on 2009-02-14.
^ "Haute-Couture Spring Summer 2008 Definitive schedule". http://www.modeaparis.com/va/collections/2008ephc/index.html. Retrieved on 2008-06-27.
^ "Haute-Couture Fall Winter 2008/2009 Definitive schedule". http://www.modeaparis.com/va/collections/2008hahc/index.html. Retrieved on 2008-06-27.

[edit] External links
Look up couturier in
Wiktionary, the free dictionary.
The Secret World of Haute Couture: A BBC Documentary Presentation
Introduction in Haute Couture
"Haute Couture" from Label France, a magazine of the French Ministry for Foreign Affairs
Haute Couture at the Metropolitan Museum of Art's Timeline of Art History
"The Golden Age of Couture". Victoria and Albert Museum. http://www.vam.ac.uk/vastatic/microsites/1486_couture/exhibition.php. Retrieved on 2007-09-13.
"Interactive timeline of couture houses and couturier biographies". Victoria and Albert Museum. http://www.vam.ac.uk/vastatic/microsites/1486_couture/explore.php.
Fédération française de la couture

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Kate Spade (born Katherine Noel Brosnahan in Kansas City, Missouri; December 24, 1962) is the co-founder and namesake of the designer brand, Kate Spade New York.

Contents [show]
1 Education
2 Mademoiselle Magazine
3 Andy Spade
4 Shops
5 Awards
6 Criticism
7 Popular culture
8 References
9 External links

[edit] Education
Spade graduated from St. Teresa's Academy, an all-girl Catholic high school in Kansas City, Missouri. She majored in journalism at Arizona State University, during which time she also worked in a motorcycle bar[1], and is a member of Kappa Kappa Gamma sorority.

[edit] Mademoiselle Magazine
In 1986, Spade worked in the accessories department of Mademoiselle in Manhattan, where she was credited in the magazine's masthead as Katy Brosnahan. While at Mademoiselle she met Bradley Carvette who worked in the art department and would become a longtime boyfriend. Together, they were featured in the magazine as part of a photo story on couples and love.

She left Mademoiselle in 1991, with the title of senior fashion editor/head of accessories. While working for Mademoiselle she noticed that the market lacked stylish and sensible handbags, so decided to create her own. With this in mind, Kate browsed local flea markets, began researching different styles, fabrics, production costs, and created a line of handbags with classic shapes, colors, and fabrics.

[edit] Andy Spade
Spade met her future husband, Andy Spade (brother of actor and comic, David Spade), a native of Scottsdale, Arizona, while at ASU, working side-by-side as salespersons in a men's clothing store, Carter's Men Shop in Phoenix.[2] They were married in 1994. They had a daughter, Frances Beatrix Spade in February, 2005. They launched their New York-based design company "kate spade handbags" in January 1993, selling mainly handbags. Today Kate Spade sells a variety of items including, stationery, personal organizers, address books, shoes, beauty products, perfume, raincoats, pajamas, eyewear, and in 2004, launched "kate spade at home." The home collection includes bedding, bath items, china, various items for the home and wallpaper.

Jack Spade, a fictional name, is the men's complement to the Kate Spade brand. Its founder and principal designer was Andy Spade. In recent years, Kate Spade has been featuring designs and special editions by guest designers and is no longer the sole artistic vision of the husband and wife team.

[edit] Shops

In 1996, Kate Spade opened its first shop in New York City's SoHo. In 1998, Kate Spade opened its doors in Boston, in 2000, Chicago, San Francisco, Greenwich, Connecticut, and Manhasset, Long Island. In the spring of 2003, one more store opened in Georgetown, Washington, D.C. From there, a wave of boutiques opened in 2004, in Atlanta, Houston, Charlotte, Scottsdale, Dallas, and Boca Raton. The last boutiques that were opened were in Las Vegas, Nevada, Palo Alto, King of Prussia, Pennsylvania and Huntsville, Alabama. New stores were planned for Fall 2008 at The Mall at Chestnut Hill in Chestnut Hill, MA, Ross Park Mall in Pittsburgh, Westfield Galleria at Roseville in Roseville, CA and also in Arden Fair Mall in Sacramento, CA. The kate spade store at The Westchester in White Plains recently opened. In 2004, the Kate Spade brand went international, opening a store in Aoyama, Tokyo, Japan.

The brand currently has many Kate Spade boutiques around the world: 46 in the United States, 32 in Japan, 6 in Hong Kong, and 4 in the Philippines as well as 2 in Jakarta.In 2004, Women's Wear Daily reported that Kate Spade had sales of $125 million. It was predicted that in fiscal 2005, sales could reach and surpass $200 million. The Neiman Marcus Group Inc., which formerly owned Kate Spade, sold it to Liz Claiborne for $124 million in November 2006.[3]

[edit] Awards
Kate Spade has won numerous awards throughout her career. In 1996 the Council of Fashion Designers of America awarded Kate "America's New Fashion Talent in Accessories" for her classic designs. In 1998, CFDA once again honored her for "Best Accessory Designer of the Year". Kate Spade's home collection won her three design awards in 2004, including, House Beautiful's "Giants of Design Award for Tastemaker", Bon Appetit's "American Food and Entertaining Award for Designer of the Year", and Elle Decor's "Elle Decor International Design Award for Bedding".

[edit] Criticism
Kate Spade handbags have become very fashionable and are highly-desired items. In an article on fake handbag sales on Canal Street in New York City's Chinatown, the New York Times famously criticized the very simple construction and boxy shape of the original Kate Spade bags as easy targets for counterfeiters.

[edit] Popular culture
Kate Spade handbags have been featured frequently in the sitcom Just Shoot Me (whose cast included Ms. Spade's brother-in-law, David Spade) as the favored purse of the former fashion model character Nina Van Horn, played by Wendie Malick.

[edit] References
^ Elisabeth Buhmiller, PUBLIC LIVES; A Cautious Rise to a Top Name in Fashion, New York Times, March 12 1999
^ Ellyn Spragins, How We Bagged Our Careers, Fortune Small Business, 1 September 2003
^ Angela Moore, Marketwatch, 8 November 2006

[edit] External links
A Business Card for Your Wild Side - Wall Street Journal
Spades Stepping Aside July 26, 2007
Bio and photo of Kate Spade — Crain's New York Business 40 under 40 — 1992
Kate Spade Official Website
Jack Spade Official Website
Real or Fake? kate spade labels
Kate Spade's biography
Good Bone Structure (article)
Kate Spade Handbags And Fragrance (article)
EOnline - David Spade Profile
Retrieved from "http://en.wikipedia.org/wiki/Kate_Spade"

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Maria Dvirnik

Mariacarla Boscono

Marie Fuema

Marie Kashleva

Marie Meyer

Marina Dreu

Marina Peres

Mariya Markina

Marla Boehr

Marta Berzkalna

Martina Pavlowska

Maryna Linchuk

Masha Tyelna

Maurine Thiry

Melodie Dagault

Melody Woodin

Michaela Kocianova

Michelle Alves

Michelle Buswell

Michelli Provensi

Milagros Schmoll

Milana Keller

Mina Cvetkovic

Miriam Susanna

Missy Rayder

Miyuki Koizumi

Mo Wandan

Mona Johannesson

Morgane Dubled

Morwenna Cobbold

Nadejda Savcova

Nadine Strittmatter

Nadja Auermann

Naomi Campbell

Natalia Belova

Natalia Zavilova

Nicole Trunfio

Nika N

Nina Joukova

Noreen Carmody

Olga Akhunova

Olga H

Olga Sherer

Olya Ivanisevic

Patricia Schmid

Polina Gureeva

Polina Kouklina

Portia Freeman

Rachel Alexander

Rachel Clark

Rachel Kirby

Raquel Zimmermann

Regina Feoktistova

Renata Kaczoruk

Renee Meijer

Rianne Ten Haken

Rita Mouldaglieva

Robyn Connor

Romina Lanaro

Sabrina Ben Amor

Sara Emilia

Sara Ziff

Sarah Seewar

Sasha

Sasha Gachulincova

Sasha Pivovarova

Serafima Vakulenko

Sessilee Lopez

Shalom Harlow

Shannan Click

Sheila Marquez

Shelly Zander

Shosheba Griffiths

Simone Doreleijers

Snejana Onopka

Sofi Berelidze

Sofie Roelens

Solange Wilvert

Sonny Zhou

Sophie Vlaming

Stella Tennant

Stephanie G

Suvi Koponen

Suzanna Snow

Suzanne Diaz

Sveta Egorova

Svieta Nemkova

Talytha Pugliesi

Tanya Dziahileva

Tanya Ruban

Tao

Tatiana Lyadockrina

Tatyana Usova

Tetyana Piskun

Thais Dos Santos

Uliana Tikhova

Viviane Orth

Yana Karpova

Yasmin Warsame

Yevgeniya Kedrova

un long dimanche de fiançailles

2009-03-25T20:15:00.000-07:00

Editorial Reviews

Amazon.com Review
January 1917: five French soldiers are marched to their own front lines where they will be tossed out into no man's land with their hands tied behind their backs and left for the Germans to shoot. They were, in civilian life, variously a pimp, a mechanic, a farmer, a carpenter, and a fisherman; now they are condemned because each had sought to leave the war by shooting himself in the hand. Taken to a godforsaken trench nicknamed Bingo Crépuscule, the five are reluctantly sent out into the darkness; days later, five bodies are recovered and the families are notified, merely, that the men died in the line of duty.
August 1919: Mathilde Donnay receives a letter from a dying man. In it, the former soldier tells her that he met her beloved fiancé, the fisherman Manech, shortly before he died. Mathilde goes to meet Sergeant Daniel Esperanza at his hospital and there hears the story of the execution. She also receives a package with a photograph of the men and copies of their last letters. As Mathilde reads and rereads the letters and goes over Esperanza's tale, she begins to suspect that perhaps the story didn't end quite so neatly. And so begins her very long investigation into the mysterious circumstances surrounding the deaths of five condemned prisoners--one of whom, at least, might not really be dead.

In Mathilde Donnay, Sebastien Japrisot has created one of the most compelling and delightful heroines in modern fiction. Though confined to a wheelchair since childhood, "Mathilde has other lives, varied and quite beautiful ones." She paints, cares for her pets, enjoys a rich fantasy life, and is relentless in her search for the truth about Manech's death. But she is by no means the only vibrant personality leaping off Japrisot's pages. This author has a remarkable ability to draw even minor characters in three dimensions with economy and wit. Take Mathilde's mother, for instance, caught in mid-card game: "At bridge, manille, bezique, Mama is a dirty rotten swine. Not only is she an ace with the pasteboards, but she throws her opponents off their mettle by insulting or making fun of them." And even the characters we meet only through other people's memories--the condemned men--are so fully realized that you find yourself torn over which one you hope may have survived. As Mathilde comes ever closer to solving the mystery of what happened at Bingo Crépuscule that January morning in 1917, Sebastien Japrisot proves himself a master storyteller and A Very Long Engagement a near perfect novel. --Alix Wilber

From Publishers Weekly
In 1917, a crippled young French woman searches for her fiance who was left to die on the front lines of WWI.
Copyright 1994 Reed Business Information, Inc.

From Kirkus Reviews
Dissatisfied with the official account of her fianc‚ Jean Etchevery's death in WW I, wheelchair-bound painter Mathilde Donnay resolves to find out the truth--with unexpectedly moving results at the end of a twisted trail. Etchevery, called ``Cornflower'' because of his youth, was one of five soldiers condemned to death for self-mutilation (shooting themselves in the hands), marched to the no-man's-land between the French and German lines, and left to die. But as Mathilde talks to the dying sergeant who was in charge of the detail and pores over the documents confirming the circumstances of the execution, telltale discrepancies (was one of the five corpses buried really wearing German boots? how explain a surviving corporal's suspicion that one or possibly two of the dead men weren't the ones he expected to see?) give her hope that Cornflower is still alive. As her researches gather more urgency, however, the years pass, survivors of the war die, memories fade, and documents disappear--leaving a trail utterly cold except for the puzzlingly contradictory stories related by the soldiers' families. Mathilde's father's lawyer urges her to give up her obsessive quest, and she finds that Germain Pire, an enterprising private detective who's urged her to hire him, has been concealing some of information he's turned up. The latest evidence suggests that a self-sacrificing corporal took the place of one of the dead--but was that one Cornflower, and if it was, why hasn't Mathilde been able to find him as late as 1924? As tricky as Japrisot's earlier bestsellers in his native France (The Passion of Women, 1990, etc.)--but also precisely, surprisingly evocative of the lingering pain of mourning and the burdens of survival. -- Copyright ©1993, Kirkus Associates, LP. All rights reserved. --This text refers to an out of print or unavailable edition of this title.

Review
'Diabolically clever...The reader is alternately impressed, beguiles, frightened, bewildered...A considerable achievement' Anita Brookner --This text refers to an out of print or unavailable edition of this title.

Review

"Riveting...A fierce, elliptical novel that's both a gripping psychological thriller and highly moving meditation on the emotional consequence of war." ---Michiko Kakutani, The New York Times

"A kind of latter-day War and Peace...This is a book that is many things: a war story, a story of official corruption, an idyll of young summer love, and a rich and most original panorama of French men and women living in peace and robbed of it. Finally, giving it all an intent energy, it is a hybrid of the detective story and the classical quest." ---Richard Eder, Los Angeles Book Review

--This text refers to the Paperback edition.

Product Description
A runaway bestseller in France, this stunning novel about love and war has been compared to War and Peace by the Los Angeles Times. Cinematic in sweep and emotional impact, the novel is both an absorbing mystery and a playful study of the different ways one story can be told.

Language Notes
Text: English (translation)
Original Language: French

About the Author
Sebastien Japrisot was born in Marseille, France in 1931. He had published his first novel, Les Mal Partis when he was only 17. He has translated the works of J. D. Salinger and pursued a successful career in advertising and publicity. He has been a scriptwriter and the director of two films. His first crime novel, The 10:30 from Marseille, was received with great acclaim. His reputation as a master for crime fiction has grown with the publication of The Lady in the Car with Glasses and a Gun, A Trap for Cinderella and Rider on the Rain. His novel One Deadly Summer was made into a film starring Isabelle Adjani. A Very Long Engagement was an international bestseller and won the Prix Interallie. --This text refers to an out of print or unavailable edition of this title.

Excerpt. © Reprinted by permission. All rights reserved.

SATURDAY EVENING

Once upon a time, there were five French soldiers who had gone off to war, because that's the way of the world.
The first soldier, who in his youth had been a cheerful, adventurous lad, wore around his neck an identification tag marked 2124, the number assigned to him at a recruiting office in the department of Seine. On his feet were boots taken from a dead German, boots that sank into the mud of trench after trench as he plodded through the godforsaken maze leading to the front lines.
All five of the soldiers were bound for the front. They went single file, laboring at each step, their arms tied behind their backs. The German army boots made loud sucking noises as men with guns led the prisoners from trench to trench, toward the dying light of the cold evening sky glimmering faintly beyond the dead horse and the lost cases of supplies and everything else that lay buried beneath the snow.
There was a great deal of snow. It was early January, and the year was 1917.
Number 2124 staggered along the narrow trenches, hauling himself through the mud, helped now and then by one of the guards, who would shift his gun to the other shoulder without a word and grab the prisoner's coat sleeve, tugging at the stiff cloth, helping him wrench one leg after the other from the mud.
And then the faces.
Dozens and dozens of faces, all lined up along the same side of the cramped passageways, and the eyes in these muddy faces watched as the five exhausted soldiers made their way ever closer to the front, straining forward, their bodies bent almost double with the effort. Beneath the helmets, in the evening light filtering through the mutilated trees, along the sinister earthen walls, mud-ringing eyes stared silently for a moment, all down the line, at the five passing soldiers whose arms were bound with rope.
Number 2124--nicknamed the Eskimo, also known as Bastoche--had been a carpenter, in the good old days. He dressed boards, he planed them, and in between kitchen cabinets he wet 0 his whistle at Little Louis's bar on the rue Amelot in Paris. Each morning he wrapped a long strip of flannel about his waist, for support. Around and around and around. His window opened onto slate roofs and flights of pigeons. There was a woman with black hair in his room, in his bed, who said...What did she say?
Watch out for the wire.
They advanced, bareheaded, toward the front-line trenches, these five French soldiers who had gone off to war, their arms tied with rope as sodden and stiff as their overcoats, and every once in a while, as they passed by, a voice was heard, a different one each time, a toneless, impassive voice telling them to watch out for the wire.
He was a carpenter, court-martialed for self-mutilation because they'd found powder burns on his wounded left hand. They'd condemned him to death for something he hadn't done. He's been trying to pull a white hair from his head. The gun, which wasn't even his, had gone off all by itself, because for a long time now, from the sea in the north to the mountains in the east, these man-made labyrinths had been the playground of the devil. He never did manage to pull out the white hair.
In 1915, he's been awarded some money and mentioned in dispatches for taking a few prisoners. Three. In the Champagne region. The first one had raised his empty hands overhead, he had a lock of blond hair falling over one eye, he was twenty years old and spoke French. He said...What did he say?
Watch out for the wire.
The other two had stayed with a dying comrade just breathing his last, his belly ripped open by who knows what. Flashes of artillery fire, flashes of sunlight, flashes. Beneath a half-burned cart, crawling along on their elbows, still wearing their gray forage caps edged with red, a sunny day, a good day to surrender. Where was that? Somewhere or other, at the tail end of the summer of '15. One time he'd gotten off a train in a village and there'd been a dog barking on the platform, barking at the soldiers.
Number 2124 was hale, robust, with the strong shoulders of an active man who'd gaily set off in his youth for adventure in America. The shoulders of a logger, a carter, a prospector, shoulders so broad they made the rest of him seem smaller. He was now thirty-seven years old, almost to the day. He believed everything they'd told him to justify his madness, all those reasons lying shrouded in the snow. He'd taken the boots from an enemy soldier who no longer needed them, he'd taken them to wear on those cold nights on sentry duty, to replace his old shoes stuffed with straw or newspaper. They'd tried him in a schoolhouse, convicted him of self-mutilation, and he'd been in trouble once before, unfortunately, because he'd been drinking and had done something stupid with a few pals, but that business about the mutilation, it wasn't true. He'd received a commendation, he'd been doing his best like everyone else, he simply couldn't figure out what was happening to him anymore. Since he was the oldest, he was the first prisoner in line, slogging through the flooded trenches, his broad shoulders bent forward, watched by those mud-ringed eyes.
The second man's number was 4077, issued at a different recruiting office in the department of the Seine. He still wore the tag bearing his number beneath his shirt, but everything else, all badges and insignia, even the pockets of his jacket and overcoat, had been torn off, as they had been from his companions' clothing. He had slipped while entering the trenches and been soaked through, chilled to the bone, but perhaps this was a blessing in disguise, for the cold had numbed the pain in his left arm, pain that had kept him from sleeping for several days. The cold had also dulled his mind, which had grown sluggish with fear; he could not even imagine what their destination might be, and longed only for an end to his bad dream.
Before the nightmare he'd been a corporal, because they'd needed one and the fellows in his platoon had chosen him, but he hated military ranks. He was certain that one day all men, including welders, would be free and equal among themselves. He was a welder in Bagneux, near Paris, with a wife, two daughters, and marvelous phrases in his head, phrases learned by heart, that spoke of the workingman throughout the world, that said...For more than thirty years he'd known perfectly well what they said, and his father, who'd so often told him about the Paris Commune, had know this, too.
It was in their blood. His father had had it from his father, and had passed it on to his son, who had always known that the poor manufacture the engines of their own destruction, but it's the rich who sell them. He'd tried to talk about this in the billets, in the barns, in the village cafés, when the proprietress lights the kerosene lamps and the policeman pleads with you to go home, you're all good folks, so let's be reasonable now, it's time to go home. He wasn't a good speaker, he didn't explain things well. And they lived in such destitution, these poor people, and the light in their eyes was so dimmed by alcohol, the boon companion of poverty, that he'd felt even more helpless to reach them.
A few days before Christmas, as he was going up the line, he'd heard a rumor about what some soldiers had done. So he'd loaded his gun and shot himself in the left hand, quickly, without looking, without giving himself time to think about it, simply to be with them. In that classroom where they'd sentenced him, there had been twenty-eight men who'd all done the same thing. He was glad, yes, glad and almost proud that there had been twenty-eight of them. Even if he would never live to see it, since the sun was setting for the last time, he knew that a day would come when the French, the Germans, the Russians--"and even the clergy"--would refuse to fight, ever again, for anything. Well, that's what he believed. He had those very pale blue eyes flecked with tiny red dots that welders sometimes have.
The third man was from the Dordogne and his number was 1818. When they'd assigned it to him, he'd nodded slowly while a strange feeling had come over him, because he'd been a ward of the Child Warfare Bureau, and in every center to which he'd been sent as a boy, his cubbyhole in the refectory or dormitory had always been number 18. Ever since he had learned how to walk, he had done so with a heavy step, now made even heavier by the mud of the war. Everything about him was heavy and patient and obstinate. He'd done it, too; he'd loaded his gun and shot himself in the hand--the right one, as he was left-handed--but without closing his eyes. On the contrary, his outlook on the whole affair had been circumspect, withdrawn, unfathomable, for his vantage point was that of solitude, and number 1818 had been waging his own war for a long time now, all alone.
Watch out for the wire.
Number 1818 was without a doubt the bravest and most dangerous of the five soldiers. During his thirty months in the army, he'd given no one cause to speak of him, he'd told no one anything at all about himself. They had come out to his farm to get him one August morning, they had put him on a train, and as far as he knew, it was up to him to stay alive if he ever wanted to go home again. Once, he'd strangled an officer in his company. It was by the Woëvre, during an offensive. No one had seen him. He'd pinned the man down with a knee to the chest and strangled him. He'd grabbed his gun and run off, bent low beneath the fireworks overhead, and that had been the end of it.
His wife had been a foundling, too, and now that he was far from her side, he remembered the softness of her skin. It was like a tear in the fabric of his sleep. And he often recalled the perspiration pearling on her skin, after she had worked all day long with him, and her poor 0hands. His wife's hands were cracked and hard as those of any man. They'd hired up to three day laborers at the same time, and there was more than enough work for the lot of them on the farm, but all the men, everywhere, had been sent away to the war, and his wife had ... --This text refers to the Paperback edition.

From AudioFile
A French soldier tells Mathilde Donnay a story from the front: Her fiancé, who was reported killed in the line of duty, may have been court-martialed, then thrown over the bunker into "no man's land" while awaiting official punishment. Maggi-Meg Reed makes this story a personal one; listeners will feel all of Mathilde's sorrow, anger, and determination as she hears the official denials and seeks the truth--and her fiancé, who may be alive. Reed's narration, filled with the passion that comes with conviction, will keep listeners riveted throughout this novel of French life just after WWI. J.A.S. © AudioFile 2006, Portland, Maine-- Copyright © AudioFile, Portland, Maine --This text refers to the Audio CD edition.
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市广电局作品点评

2009-03-19T07:53:00.000-07:00

今晚在修改各位的市广电局作品点评
发现写得好的不多
老师这里再概括一下
这种点评由于是获奖作品一般以讲述作品的优点特点为主
不足之处点到就行不用展开
且尽量注意遣词造句不要咄咄逼人
此其一
其二下笔前要精心概括好作品的几大特点并且拟好小标题
包括文章的题目
标题的拟写尽量注意几个小标题音节的匀称不要一个很长一个很短
其三每一部分要围绕你的小标题去加以阐述
内在的层次要清晰
阐述分析时尽量用新闻学传播学的理论加以剖析语言要力避口语化
最后一点是写完了自己一定要复看两遍检查有无漏字多字错别字
包括病句
读两遍自然就能读顺了如果还读不出那就是语感有问题了
08的用不上理论还情有可原
07的就说不过去了
所以一再要求大家多看几遍新闻学、传播学且平时要反复操练

f

2009-03-19T06:23:00.001-07:00

语音知识一

教材p.3语音知识1和2 为什么只介绍[a]
介绍并朗读元音[a] [ε] [i] 辅音[s] [t] [d] [f] [v] [m] 其读音规则
发音方法元音 [a] [ε] [i]
口腔张开度大略小于[a] 极小
舌位舌头平放在口中舌尖抵下齿龈舌尖抵下齿龈
舌尖抵下齿龈舌面前部略抬舌前部向硬颚略抬
唇形不成圆形不成圆形嘴角用里从两边拉后
唇形扁平
说明与汉语相似下颚下降与汉语相似
汉语不抵但紧张嘴角勿用力后缩比较紧张
不要发成[ai]无复合张口度极小
张口度
上下牙床距离5毫米
发音方法辅音[s] [t] [d] [f] [v] [m]
阻碍情况舌尖抵下齿舌尖抵上齿同上齿抵下唇同双唇闭拢
舌前抬向硬鹗形成阻塞下唇略里卷软鹗下降
上下齿合拢
阻碍程度部分阻完全闭塞同部分阻同完全阻
舌前部与硬鹗气流突然冲出气流擦出气流由鼻腔
间成窄缝气流外冲出
声带状态否否是否是
说明相似相似同相似同相似紧张
双唇左右咧开除阻有力下唇略内卷除阻有力
送气与否2 鼻音乐音
注意：法语的语音要求口形比较紧凑不像汉语比较松弛谬之毫厘往往差之千里。
1．朗读教材p.2的规则和练习
2．朗读课文，边读边翻译，解释句子的结构.
--aller 动词原形allez是和 vous相配合的动词变位形式
--moi是我的重读形式
--ca 口语中多用
--bonjour-madame-vous-comment allez vous;salut-fanny-toi-ca va）
从称呼看对话人之间的亲疏关系请特别注意你和您的使用区别—法国是个很注重礼仪和等级的国家
--开音符长音符软音符p.43.
同样的字母和不同的符号搭配在一起，就会发不同的音
--升调和降调先升后降类似英语但是调子的变化没有那么丰富徐书 p.136

摄影技术&知识

2009-03-18T09:07:00.000-07:00

数码相机和可冲印照片最大尺寸对照表：

500万像素有效4915200，像素2560X1920。可冲洗照片尺寸17X13，对角线21英寸
400万像素有效3871488，像素2272X1704。可冲洗照片尺寸15X11，对角线19英寸
300万像素有效3145728，像素2048X1536。可冲洗照片尺寸14X10，对角线17英寸
200万像素有效1920000，像素1600X1200。可冲洗照片尺寸11X8，对角线13英寸
130万像素有效1228800，像素1280X960。可冲洗照片尺寸9X6，对角线11英寸
080万像素有效786432，像素1024X768。可冲洗照片尺寸7X5，对角线9英寸
050万像素有效480000，像素800X600。可冲洗照片尺寸5X4，对角线7英寸
030万像素有效307200，像素640X480。可冲洗照片尺寸4X3，对角线5英寸

由上表可以看出：
5寸照片（3X5），采用800X600分辨率就可以了
6寸照片（4X6），采用1024X768分辨率
7寸照片（5X7），采用1024X768分辨率
8寸照片（6X9），采用1280X960分辨率

发帖人: 记忆烙印发帖时间: 2003-11-02 12:53
挑选数码相机应注意哪些参数？

挑选数码相机应首先了解“像素”、“CCD尺寸”、“变焦倍率”和“光圈”等参数，这些参数决定了数码相机处于哪种级别。

　　数码相机的工作原理是：首先通过镜头接收光线，然后被称为CCD（电耦合元件）的芯片（有时也使用CMOS传感器）将所接收的光线转换成电信号，最后将电信号作为数据记录到内置存储器和存储卡中。所以，数码相机的基本性能可以说受CCD和镜头的影响非常大。

　　在数码相机规格和广告中最先映入眼帘的描述一般就是“多少百万像素”。所谓像素数，可以理解为在CCD上象网格一样的东西 ,而光线的颜色和强度则能够以这种网格为单位接收到相机中。所以，网格越细（也就是说像素越多），照片的颗粒就越细。相应地拍摄对象的细节部分就表现得越好。

　　很多数码相机规格中经常标明有“总像素数”和“有效像素数”两个数字。总像素数顾名思义是指数码相机所具有的像素总数，但实际上，并非所有像素都参与生成图像，所以真正可用于照片的像素数就是“有效像素数”。

　　另外，CCD尺寸也很重要。如果像素数相同，CCD越大，每个像素的尺寸就越大。像素尺寸越大，所能处理的数据量就会增加，从而就能够区别微细光线的颜色和强度。也就是说就能够生成层次感丰富的照片。中档数码相机一般使用1/2.7英寸～1/1.5英寸之间的CCD，但是高级单反相机有的会超过1英寸。

　　在镜头方面，“变焦倍率”和“F值”最关键。对于数码相机来说，变焦倍率越大，远景拍摄就越方便。但相应地镜头就越大，价格也就越高。如果只是家常使用，有3倍左右的变焦功能也就足够用了。另外要注意，如果想比较焦距，应该比较统一换算成35mm相机后的焦距。

　　变焦又分为“光学变焦倍率”和“数码变焦倍率”两项。其中体现镜头性能的是“光学变焦”。 “数码变焦”是通过软件插值来放大图像的，所以利用数码变焦进行放大的越多，画质就越差。

　　“F值”表示光圈的大小，F值越小，光圈越大，镜头的通光率也就越大，相应的也就可以越暗的环境拍摄。另外镜头的性能并不能仅由规格来判断。焦外成像、色彩表现以及分辨率和像差等数据并没有写在规格中。不同用途的镜头，它的风格也就不同。这方面最好是参考杂志上刊登的测试报告。

其他需要注意的是，对相机的易用性影响较大的规格还包括从打开电源到可以拍摄之间的启动时间、可连续拍摄的最短时间，以及从按下快门到快门关闭之间的时滞。为了不放过任何拍摄时机，显然这些指标的数值越小越好。

发帖人: 记忆烙印发帖时间: 2003-11-02 12:54
新手要购买数码相机所要考虑的条件。（仙雨蛇）

我想论坛上有很多朋友都对数码相机很感兴趣，自己将在过去选择相机时所考虑的事情，以及后来使用过程中总结出来的经验写下来，以期对新手有所帮助。

清晰度
画面清晰与否与象素有关，象素越大则画面越清晰，拍摄的照片若只是通过网络传播，100万的象素已经足够了，但要想输出照片，则至少要200万象素，才能达到效果。

画面的质量
画面的素质要受品牌、技术等制约，一般传感器使用CCD的相机比使用CMOS的画质要好。当然象素也是画面质量的一个条件，这些具体在要多看看相机所拍摄的样片来决定。

相机功能
要确定功能是否有助于你的使用，一架功能全面的相机，会令你使用时感到更轻松。你要了解哪些功能是必须的，而哪些是对于自己来说没有用处，比如你要用相机来进行网络会议，就应晓得相机是否具有摄影头功能。但在一般来说，同价位的相机，它的其他功能越多，作为相机本身的功能就会打折扣，所以尽量挑自己最看重的功能，而不必为其他花哨的功能吸引。

快门延迟。
在使用传统相机时，你按下快门的时候，相机马上就会产生反应，而数码相机则会有段时间的延迟，同时在拍摄一张照片和下一张照片的时候也会有时间上的延迟，具体延迟时间上的长短跟不同种类的相机有关系，但都会影响到拍摄效果，所以应注意一下。

存储卡和电池
不同的相机会采用不同的存储卡或电池，但也有兼用多种存储卡或电池的机型。要根据自己的条件来选择。

输入电脑的方式
数码相机通过数据线或读卡器将内容传输进电脑，同样从方便考虑，应选配备有USB接口的相机。

外观
外观要同时照顾到美观性及实用性，当然你买相机绝对不是为了亮骚，主要还是要用起来方便，但至少要便于携带。所以最后要考虑一下这一点。

发帖人: 记忆烙印发帖时间: 2003-11-02 12:55
如何选购三脚架（记忆烙印）

许多摄影爱好者，往往忽略三脚架的作用，其实无论多短的镜头焦距及多快的快门速度，保持相机的稳定永远是很重要的，而且即使使用最低档的三角架，也可能比手持相机要稳定。对于专业摄影师而言，三脚架的重要性并不亚于机身和镜头。

首先，以前市场上卖的那种象伞把一样的弹珠定位拉杆三脚架不在讨论范围，那只是在自拍时给你一个放相机的支撑而已，谈不上稳定。

选购三脚架的第一要求要稳。管脚本身要有足够的钢度，拉出的管脚锁定要紧，中柱锁定，云台锁定也要稳，如果使用快装板，快装板和云台配合要牢固。选购时可以把三角架升到最高，锁紧，用手压摇云台，看是否有晃动，越稳定越好。

其次是功能，无论是用三向还是球台，各个方向定位要灵活，能够很好定位于多个高度，中柱如能进行反接，对微距摄影及翻拍会方便不少。

至于重量，应该适中，单从稳定考虑，当然是越重的稳定性越好，但三角架一般是外出时使用，太重的不便携带，反而无用。

在摄影发烧友中有这样的名言“当买了第三个（机身、镜头、脚架.....）之后才发现前两个的钱都是可以省下的”。对器材的追求没有止境，应该以好用、够用为原则。太差的脚架不但是浪费金钱，还可能谋杀你的相机，但使用非专业的相机，也犯不着配天价的专业脚架。

一般使用普及型相机的朋友可以考虑几百元的国产脚架，伟峰、珠江等都有不错的产品；使用高档机型的朋友可以考虑意大利的曼富图（Manfrotto）日本Slik、金钟或国产高档产品；顶级的器材有捷信（Gitzo）等可选。当然，同一个品牌的产品中，档次差别也很大。

发帖人: 记忆烙印发帖时间: 2003-11-02 13:03
如何测试数码相机的坏点和噪点？

数码相机的成像元件(CCD或CMOS,目前一般指CCD)一般有数百万个感光单元，如果其中某个感光单元损坏，不能成像，即成为坏点---Dead Pixel. 感光元件都有热稳定性的问题，温度升高，噪音信号过强，会在画面上形成杂色的斑点，此为噪点---hot pixel.

检测相机时，盖上镜头盖拍摄，理论上图像应该是纯黑色，若有斑点即是坏点或噪点。坏点总在画面的固定位置，而且无论使用怎样的曝光组合或怎样的感光度，始终存在。噪点在一般情况下并不存在(除非相机质量过于低劣)，随着曝光时间延长、感光度(ISO)调高或相机温度升高（长时间开机）而增加。

数百万像素的数码相机有一两个坏点，对成像的影响其实并不大，但总归不完美，令人不舒服，遇到有坏点的产品，只有更换。噪点的严重程度不但不同型号的相机差别很大，同一款产品也有个体差异，有条件的话应该多对比几台。

数码相机的LCD也可能有坏点，无论是菜单*作还是浏览图像，也无论用什么比例浏览，在LCD上始终存在的点是LCD的坏点。LCD一般没有所谓的噪点。

发帖人: 记忆烙印发帖时间: 2003-11-02 13:04
闪存卡常识（仙雨蛇）

一、SmartMedia(SM卡)

　　SM卡是由东芝和Taec于1995年11月发布的闪存卡(Flash Memory)。它受到了Toshiba、Sam-sung、Sony、Sharp、JVC、Philips、NEC等众多厂家的支持。SmartMedia体积很小，其尺寸为45mm×37mm×0.76mm，且很轻很薄，全重只有1.8克。存贮卡上只有Flash Memory模块和接口，而没有控制芯片，兼容性相对较差，不同厂家和不同设备及不同型号间的SM卡有可能互不兼容。SmartMedia目前的主流容量为128MB,我公司目前有32M,64M,128M全部类型的产品。

二、Compact Flash(CF卡)　　

　　CF卡的兼容性非常的好,因而被广泛应用,Compact Flash是美国SanDisk公司1994年推出的由于把Flash Memory存贮模块与控制器做在了一起，这样CF卡的外部设备就可以做得比较简单而没有兼容性问题,特别是升级换代时也可以保证与旧设备的兼容性,保护了用户的投资,而且几乎所有的*作系统都支持它。CF卡无论是在笔记本电脑中还是其它数码产品中都得到了非常广泛的应用。CF卡的大小为43mm×36mm×3.3mm，只有PCMCIA卡的1/4，而且CF卡本身还兼容PCMCIA-ATA功能及TrueIDE。CF卡同时支持3.3伏和5伏的电压,可以在这两种电压下工作。它有两种接口标准：CF Type Ⅱ和CF Type I，从物理结构上来看,CF Type Ⅱ卡和CF Type I卡的每个插孔的间隔大小一样,但是CF Type Ⅱ卡比CF Type I卡厚一些。CF Type I卡看起来只有Type Ⅱ厚度的一半。另外,Type Ⅱ比Tpye I插槽要宽，所以CompactFlash TypeⅡ卡不能在Type I卡插槽上使用。目前LEXAR公司已经推出高达4GB的CF卡。　　　　　　　　　　　　　　　　　

三、MMC(MultiMediaCard)

　　MMC(MultiMediaCard)卡，从字面含义上来翻译就是多媒体卡，是由美国SANDISK公司和德国西门子公司于1997年共同开发的多功能存储卡。可用于手机,数码相机,数码摄像机,MP3等多种数码产品。它具有体积小,重量轻的特点，外形尺寸只有32mm×24mm×1.4mm，重量在2克以下，并且耐冲击，可反复进行读写记录30万次以上。驱动电压为2.7-3.6V。目前有64M和128M两种类型,多用于数码摄像机和MP3，最近也开始有使用此卡的数码相机了。　　　　　　　

四、SD(Secure Digital Card)

　　SD卡就是Secure Digital Card--安全数码卡,是由日本松下公司,东芝公司和美国SanDISK公司于1999年8月共同研制开发而成的。虽然SD卡是根据MMC卡开发的,但是基本上两者还是不同的产品,只是在设计时考虑到兼容问题,所以在大多数情况下这两种产品能够互换，是一款具有大容量,高性能,并且更为安全等多种特点的多功能存储卡。它比MMC卡多了一个进行数据著作权保护的暗号认证功能(SDMI规格)。现多用于MP3,数码摄像机,电子图书,微型电脑,AV器材等。大小尺寸比MMC卡略厚一点32mm×24mm×2.1mm,容量则要大许多,刚上市时的SD卡单卡容量为8MB-64MB不等,传输速度为每秒2MB,而到2002初单卡容量已经高达512MB,数据传输率也提升到10MB/s,这样在传输一些较大的文件时具有一定的优势。另外此卡的读写速度比MMC卡要快4倍，达2MB/秒。同时与MMC卡兼容,SD卡的插口大多支持MMC卡。从性能上看,这两者最大的分别在于SD卡强调资料的安全性,可以通过特定的软件设置卡内程序或资料的使用权限,以避免用户肆意复制,损害所有者的利益。当然对于一般用户而言,这个功能没什么用处,相反有关的系统及加密资料会占用记忆卡900K容量,另外SD卡和MMC卡都采用了一体化固体介质,没有任何移动部分,所以完全不用担心机械运动的损坏而导致数据的丢失。　　　　　　　　　　　　　　　　　　　　　　　　　

五、Memory Stick(MS)

　　Memory Stick是Sony公司于1997年推出的移动存储器,因其外形像一条口香糖，又被称为"口香糖"存贮卡。目前只有索尼公司对其支持。与其他FlashMemory存贮卡不同,Memory Stick规范是非公开的,需签协议方可使用。Memory Stick具有写保护开关,内含控制器,采用10针接口,数据总线为串行,最高频率可达20MHz,电压为2.7伏到3.6伏,电流平均为45mA。目前Memory Stick的主流容量已达256MB,为了适应版权保护的需求1999年12月Sony又推出了新的Magic-Gate Memory Stick,加入了MagicGate版权保护技术。新的MagicGate Memory Stick与Memory Stick的兼容,外壳变成了白色,并且在反面加多一个突出的点以示区别。　　　　　　　　　　　　

六、Extreme Digital Card(XD)

　　所谓XD卡，是英文Extreme Digital 的缩写，也就是极端数码的意思。XD卡仅有20×25mm×1.7mm,共0.85立方厘米,2克重,体积只有SM卡的一半,它的闪存读写速度是目前储存卡中最快之一，读取速度为每秒5MB,16MB及32MB。写入速度为每秒1.3MB,而64MB或更高容量的写入速度是每秒3MB，驱动时的耗电小过SM卡，仅25mW。　　　　　　　　　　　　　　　　

发帖人: 记忆烙印发帖时间: 2003-11-02 13:06
DC说明书集合

说明书相关工具
1 http://www.chyangwa.com/download/software/SSReader_v3.6.exe 超星图书阅览器(.pdg文件)
2 http://www.chyangwa.com/download/software/Winzip_7.exe winzip(.zip文件)
3 http://www.chyangwa.com/download/software/HAC-WinRAR29sf-Ronnier.exe winrar(.rar文件)
4 http://www.chyangwa.com/download/software/ar500chs.exe Acrobat Reader 5.01(.PDF文件)

说明书
尼康F100中文说明书 8.91M http://www.ymw.com.cn/down/download.asp?id=44&downid=1

C-4040 说明书 10.2M http://www.ymw.com.cn/down/download.asp?id=43&downid=1

C－2Zoom 中文版 5.18M
http://www.ymw.com.cn/down/download.asp?id=42&downid=1

C－40 中文版 9.84M
http://www.ymw.com.cn/down/download.asp?id=41&downid=1

C-5050 快速使用说明书 935K
http://www.ymw.com.cn/down/download.asp?id=40&downid=1

C-50Z 中文版 5.38M
http://www.ymw.com.cn/down/download.asp?id=39&downid=1

C-4000 中文版 11.1M
http://www.ymw.com.cn/down/download.asp?id=38&downid=1

C-300 中文说明 9.39M
http://www.ymw.com.cn/down/download.asp?id=34&downid=1

C-700 中文版 8.9M
http://www.ymw.com.cn/down/download.asp?id=35&downid=1

C-720 中文版 6.6M
http://www.ymw.com.cn/down/download.asp?id=36&downid=1

C-730 中文版 20.1M
http://www.ymw.com.cn/down/download.asp?id=37&downid=1

奥林巴斯E-20 中文说明书 16.1M
http://www.ymw.com.cn/down/download.asp?id=33&downid=1

D7i说明书 3.14MB
http://www.ymw.com.cn/down/download.asp?id=22&downid=1

美能达 Dimage F100 说明书 9.53MB
http://www.ymw.com.cn/down/download.asp?id=21&downid=1

柯达DX3900说明书 7.5M
http://www.ymw.com.cn/down/download.asp?id=20&downid=1

LS420说明书 3.3MB
http://www.ymw.com.cn/down/download.asp?id=7&downid=1

DX3900说明书 5.4MB
http://www.ymw.com.cn/down/download.asp?id=5&downid=1

DX4900说明书 4.97mb
http://www.ymw.com.cn/down/download.asp?id=6&downid=1

Kodak PictureDisk柯达照片管理程序 536KB
http://www.ymw.com.cn/down/download.asp?id=8&downid=1

Canon
http://www.chyangwa.com/download/instruction/Canon/ixus-ii.zip IXUS-II
http://www.chyangwa.com/download/instruction/Canon/IXUS300.zip IXUS300
http://www.chyangwa.com/download/instruction/Canon/PowerShot-A10-A20.zip A10/A20
http://www.chyangwa.com/download/instruction/Canon/PowerShot-S30-S40.zip S30/S40
http://www.chyangwa.com/download/instruction/Canon/PowerShot-G1.zip G1
http://www.chyangwa.com/download/instruction/Canon/PowerShot-G2.zip G2
http://www.chyangwa.com/download/instruction/Canon/EOS-D30.zip EOS-D30
http://www.chyangwa.com/download/instruction/Canon/EOS-D60.pdfEOS-D60
http://www.chyangwa.com/download/instruction/Canon/eos1v.zip EOS-1V
http://www.chyangwa.com/download/instruction/Canon/EOS1n.zip EOS-1N
http://www.chyangwa.com/download/instruction/Canon/EOS3.zip EOS-3
http://www.chyangwa.com/download/instruction/Canon/EOS30.zip EOS-30
http://www.chyangwa.com/download/instruction/Canon/EOS300QD.zip EOS-300
http://www.chyangwa.com/download/instruction/Canon/EOS5.zip EOS-5
http://www.chyangwa.com/download/instruction/Canon/EOS50E.zip EOS-50E
http://www.chyangwa.com/download/instruction/Canon/EOS500.zip EOS-500
http://www.chyangwa.com/download/instruction/Canon/EOS500n.zip EOS-500N
http://www.chyangwa.com/download/instruction/Canon/EOS88.zip EOS-88
http://www.chyangwa.com/download/instruction/Canon/EOS888.zip EOS-888
http://www.chyangwa.com/download/instruction/Canon/Mr14EX.zip MR14EX

http://www.chyangwa.com/download/instruction/Canon/220ex.zip 220EX
http://www.chyangwa.com/download/instruction/Canon/380EX.zip 380EX
http://www.chyangwa.com/download/instruction/Canon/420EX.zip 420EX
http://www.chyangwa.com/download/instruction/Canon/540EZ.zip 540EZ
http://www.chyangwa.com/download/instruction/Canon/550ex.zip 550EX
http://www.chyangwa.com/download/instruction/Canon/EOS100.zip EOS-100
http://www.chyangwa.com/download/instruction/Canon/eos1000n.zip EOS-1000N
http://www.chyangwa.com/download/instruction/Canon/A-1.PDFA-1
http://www.chyangwa.com/download/instruction/Canon/AE-1P.pdfAE-1P
http://www.chyangwa.com/download/instruction/Canon/Prima-BF80-BF90.zip BF80/BF90

Kodak
http://www.chyangwa.com/download/instruction/Kodak/DC240+DC280.zip DC240/DC280
http://www.chyangwa.com/download/instruction/Kodak/dc215.zip DC215
http://www.chyangwa.com/download/instruction/Kodak/dc4800.zip DC4800
http://www.chyangwa.com/download/instruction/Kodak/dc5000.zip DC5000
http://www.chyangwa.com/download/instruction/Kodak/DX3600.pdfDX3600

Konica
http://www.chyangwa.com/download/instruction/Konica/Hexar.zip Hexar

Nikon
http://www.chyangwa.com/download/instruction/Nikon/Coolpix-700.zip Coolpix700
http://www.chyangwa.com/download/instruction/Nikon/Coolpix-880.zip Coolpix880
http://www.chyangwa.com/download/instruction/Nikon/Coolpix-950.zip Coolpix950
http://www.chyangwa.com/download/instruction/Nikon/Coolpix-990.zip Coolpix990
http://www.chyangwa.com/download/instruction/Nikon/CoolPix-995.zip Coolpix995
http://www.chyangwa.com/download/instruction/Nikon/CoolPix-5000.zip CoolPix5000
http://www.chyangwa.com/download/instruction/Nikon/F5.zip F5
http://www.chyangwa.com/download/instruction/Nikon/F4.zip F4/F4E/F4S
http://www.chyangwa.com/download/instruction/Nikon/F3.zip F3
http://www.chyangwa.com/download/instruction/Nikon/F100.zip F100
http://www.chyangwa.com/download/instruction/Nikon/F90X.zip F90X
http://www.chyangwa.com/download/instruction/Nikon/F80.zip F80
http://www.chyangwa.com/download/instruction/Nikon/F70.zip F70
http://www.chyangwa.com/download/instruction/Nikon/F60.zip F60
http://www.chyangwa.com/download/instruction/Nikon/F50.zip F50
http://www.chyangwa.com/download/instruction/Nikon/fm3a.zip FM3A
http://www.chyangwa.com/download/instruction/Nikon/FM2.zip FM2
http://www.chyangwa.com/download/instruction/Nikon/FM10.zip FM10
http://www.chyangwa.com/download/instruction/Nikon/FE10.zip FE10
http://www.chyangwa.com/download/instruction/Nikon/FG20.zip FG20
http://www.chyangwa.com/download/instruction/Nikon/F65.zip F65
http://www.chyangwa.com/download/instruction/Nikon/F601.zip F601
http://www.chyangwa.com/download/instruction/Nikon/MB-10.zip MB-10
http://www.chyangwa.com/download/instruction/Nikon/MD-12.zip MD-12
http://www.chyangwa.com/download/instruction/Nikon/MB-15.zip MB-15
http://www.chyangwa.com/download/instruction/Nikon/MF-26.zip MF-26
http://www.chyangwa.com/download/instruction/Nikon/SB22.zip SB-22
http://www.chyangwa.com/download/instruction/Nikon/SB23.zip SB-23
http://www.chyangwa.com/download/instruction/Nikon/SB25.zip SB-25
http://www.chyangwa.com/download/instruction/Nikon/SB27.zip SB-27
http://www.chyangwa.com/download/instruction/Nikon/SB28.zip SB-28

Mamiya
http://www.chyangwa.com/download/instruction/Mamiya/645_Pro_TL_v8.pdf645 Pro TL
http://www.chyangwa.com/download/instruction/Mamiya/645_Pro_v3.pdf645 Pro
http://www.chyangwa.com/download/instruction/Mamiya/M645_1000S_v4.pdfM645 1000s
http://www.chyangwa.com/download/instruction/Mamiya/M645_Super_v3.PDFM645 super
http://www.chyangwa.com/download/instruction/Mamiya/RB67_Pro_SD_v7.PDFRB67Pro SD
http://www.chyangwa.com/download/instruction/Mamiya/RB67_Pro-S_v7.PDFRB67Pro S
http://www.chyangwa.com/download/instruction/Mamiya/RZ67_Pro_v4.PDFRZ67 Pro

Minolta
http://www.chyangwa.com/download/instruction/Minolta/XD-7.zip XD-7
http://www.chyangwa.com/download/instruction/Minolta/VC-700.zip VC-700
http://www.chyangwa.com/download/instruction/Minolta/TC-1.zip TC-1
http://www.chyangwa.com/download/instruction/Minolta/3600HS.zip 3600HS
http://www.chyangwa.com/download/instruction/Minolta/5600HS.zip 5600HS
http://www.chyangwa.com/download/instruction/Minolta/a9.zip a9
http://www.chyangwa.com/download/instruction/Minolta/a7.zip a7
http://www.chyangwa.com/download/instruction/Minolta/a5.zip a5
http://www.chyangwa.com/download/instruction/Minolta/Dimage-F100.zip F100
http://www.chyangwa.com/download/instruction/Minolta/9xi.zip 9xi
http://www.chyangwa.com/download/instruction/Minolta/7xi.zip 7xi
http://www.chyangwa.com/download/instruction/Minolta/800Si.zip 800si
http://www.chyangwa.com/download/instruction/Minolta/Sweet.zip sweet
http://www.chyangwa.com/download/instruction/Minolta/Sweets.zip sweets
http://www.chyangwa.com/download/instruction/Minolta/5xi.zip 5xi
http://www.chyangwa.com/download/instruction/Minolta/500si.zip 500si
http://www.chyangwa.com/download/instruction/Minolta/807si.rar807Si
http://www.chyangwa.com/download/instruction/Minolta/x-700.zip X-700
http://www.chyangwa.com/download/instruction/Minolta/8000i.pdf8000i(en)

Minox
http://www.chyangwa.com/download/instruction/Minox/8x11MX.pdf8x11MX
http://www.chyangwa.com/download/instruction/Minox/BD8x22R_BD10x25R.pdf8x22/10x25
http://www.chyangwa.com/download/instruction/Minox/BD8x24BR_BD10x25BR.pdf8x24/10x25
http://www.chyangwa.com/download/instruction/Minox/BD8x32BR.pdfBD8x32BR
http://www.chyangwa.com/download/instruction/Minox/CD_112.pdfCD112
http://www.chyangwa.com/download/instruction/Minox/CD_25.pdfCD25
http://www.chyangwa.com/download/instruction/Minox/CD_70.pdfCD70
http://www.chyangwa.com/download/instruction/Minox/ECX_ECXflash.pdfECX flash

Panasonic
http://www.chyangwa.com/download/instruction/Panasonic/C-325EF.zip C-325EF
http://www.chyangwa.com/download/instruction/Panasonic/C-335EF.zip C-335EF

Pentax
http://www.chyangwa.com/download/instruction/Pentax/MZ-5.zip MZ-5
http://www.chyangwa.com/download/instruction/Pentax/MZ-50.zip MZ-50
http://www.chyangwa.com/download/instruction/Pentax/MZ-7.zip MZ-7
http://www.chyangwa.com/download/instruction/Pentax/MZ-30.zip MZ-30
http://www.chyangwa.com/download/instruction/Pentax/Z1-P.zip Z1P
http://www.chyangwa.com/download/instruction/Pentax/P-30.zip P-30
http://www.chyangwa.com/download/instruction/Pentax/645n.zip 645N

Ricoh
http://www.chyangwa.com/download/instruction/Ricoh/GR1s.zip GR1S
http://www.chyangwa.com/download/instruction/Ricoh/XR-7MII.zip XR-7MII
http://www.chyangwa.com/download/instruction/Ricoh/XR-X2000.zip XR-X2000
http://www.chyangwa.com/download/instruction/Ricoh/XR-X3000.zip XR-X3000
http://www.chyangwa.com/download/instruction/Ricoh/XR-X3P.zip XR-X3P

\\\\\\\\\\\\\\\" height=\\\\\\\\\\\\\\\"15OLYMPUS
http://www.chyangwa.com/download/instruction/OLYMPUS/olympus-uii.zip u-II
http://www.chyangwa.com/download/instruction/OLYMPUS/IS200.zip IS-200
http://www.chyangwa.com/download/instruction/OLYMPUS/IS300.zip IS-300
http://www.chyangwa.com/download/instruction/OLYMPUS/IS3000.zip IS-3000
http://www.chyangwa.com/download/instruction/OLYMPUS/zoom115.zip ZOOM115

Sekonic
http://www.chyangwa.com/download/instruction/Sekonic/L-158.pdf158
http://www.chyangwa.com/download/instruction/Sekonic/L-188.pdf188
http://www.chyangwa.com/download/instruction/Sekonic/L-246.pdf246
http://www.chyangwa.com/download/instruction/Sekonic/L-308.pdf308
http://www.chyangwa.com/download/instruction/Sekonic/L-318.pdf318
http://www.chyangwa.com/download/instruction/Sekonic/L-328.pdf328
http://www.chyangwa.com/download/instruction/Sekonic/L-398M.pdf398
http://www.chyangwa.com/download/instruction/Sekonic/L-408.pdf408
http://www.chyangwa.com/download/instruction/Sekonic/L-508.pdf508
http://www.chyangwa.com/download/instruction/Sekonic/L-508Cine.pdf508Cine
http://www.chyangwa.com/download/instruction/Sekonic/L-718.pdf718

SONY
http://www.chyangwa.com/download/instruction/SONY/DSC-F707.zip DSC-F707
http://www.chyangwa.com/download/instruction/SONY/DSC-F505V.zip DSC-F505V
http://www.chyangwa.com/download/instruction/SONY/DSC-P5.zip DSC-P5
http://www.chyangwa.com/download/instruction/SONY/DSC_P30-P50.zip P30/P50
http://www.chyangwa.com/download/instruction/SONY/Dsc-s70.zip S70
http://www.chyangwa.com/download/instruction/SONY/DSC-S75.zip S75
http://www.chyangwa.com/download/instruction/SONY/Dsc-p1.zip P1
http://www.chyangwa.com/download/instruction/SONY/FD85+FD90.zip FD85/FD90
http://www.chyangwa.com/download/instruction/SONY/CCD-TR517(EN).pdfCCD-TR517(EN)
http://www.chyangwa.com/download/instruction/SONY/CCD-TR818(en).pdfCCD-TR818(en)
http://www.chyangwa.com/download/instruction/SONY/CCD-TRV16-43-46.pdfCCD-TRV16-43-46
http://www.chyangwa.com/download/instruction/SONY/CCD-TRV25(en,fr).pdfCCD-TRV25(en,fr)
http://www.chyangwa.com/download/instruction/SONY/CCD-TRV37.pdfCCD-TRV37
http://www.chyangwa.com/download/instruction/SONY/CCD-TRV57.pdfCCD-TRV57
http://www.chyangwa.com/download/instruction/SONY/CCD-TRV58(En).pdfCCD-TRV58(En)
http://www.chyangwa.com/download/instruction/SONY/CCD-TRV63-66(En).pdfCCD-TRV63-66(En)
http://www.chyangwa.com/download/instruction/SONY/CCD-TRV75-93(en).pdfCCD-TRV75-93(en)
http://www.chyangwa.com/download/instruction/SONY/CCD-TRV87.pdfCCD-TRV87
http://www.chyangwa.com/download/instruction/SONY/DCR-IP5-DCRIP7BT(en).pdfDCR-IP5-DCRIP7BT(en)
http://www.chyangwa.com/download/instruction/SONY/DCR-PC10.pdfDCR-PC10
http://www.chyangwa.com/download/instruction/SONY/DCR-PC100.pdfDCR-PC100
http://www.chyangwa.com/download/instruction/SONY/DCR-PC110(en).pdfDCR-PC110(en)
http://www.chyangwa.com/download/instruction/SONY/DCR-PC120BT(en).pdfDCR-PC120BT(en)
http://www.chyangwa.com/download/instruction/SONY/DCR-PC3.pdfDCR-PC3
http://www.chyangwa.com/download/instruction/SONY/DCR-PC5(en).pdfDCR-PC5(en)
http://www.chyangwa.com/download/instruction/SONY/DCR-PC7(en,%20Sp%20).pdfDCR-PC7(en,
Sp )
http://www.chyangwa.com/download/instruction/SONY/DCR-PC9(en).pdfDCR-PC9(en)
http://www.chyangwa.com/download/instruction/SONY/DCR-TRV11(e).pdfDCR-TRV11(e)
http://www.chyangwa.com/download/instruction/SONY/DCR-TRV110-315.pdfDCR-TRV110-315
http://www.chyangwa.com/download/instruction/SONY/DCR-TRV120-320.pdfDCR-TRV120-320
http://www.chyangwa.com/download/instruction/SONY/DCR-TRV130(en).pdfDCR-TRV130(en)
http://www.chyangwa.com/download/instruction/SONY/DCR-TRV17(en).pdfDCR-TRV17(en)
http://www.chyangwa.com/download/instruction/SONY/DCR-TRV20-11-6.pdfDCR-TRV20-11-6
http://www.chyangwa.com/download/instruction/SONY/DCR-TRV230-330-530(en).pdfDCR-TRV230-330-530(en)
http://www.chyangwa.com/download/instruction/SONY/DCR-TRV30(en).pdfDCR-TRV30(en)
http://www.chyangwa.com/download/instruction/SONY/DCR-TRV510(en).pdfDCR-TRV510(en)
http://www.chyangwa.com/download/instruction/SONY/DCR-TRV525.pdfDCR-TRV525
http://www.chyangwa.com/download/instruction/SONY/DCR-TRV720.pdfDCR-TRV720
http://www.chyangwa.com/download/instruction/SONY/DCR-TRV730-830(en).pdfDCR-TRV730-830(en)
http://www.chyangwa.com/download/instruction/SONY/DCR-TRV8-10(en).pdfDCR-TRV8-10(en)
http://www.chyangwa.com/download/instruction/SONY/DCR-TRV820.pdfDCR-TRV820
http://www.chyangwa.com/download/instruction/SONY/DCR-TRV900(en).pdfDCR-TRV900(en)
http://www.chyangwa.com/download/instruction/SONY/DCR-VX1000(en).pdfDCR-VX1000(en)
http://www.chyangwa.com/download/instruction/SONY/DCR-VX2000(en).pdfDCR-VX2000(en)
http://www.chyangwa.com/download/instruction/SONY/DSC-D700.pdfDSC-D700
http://www.chyangwa.com/download/instruction/SONY/DSC-D770.pdfDSC-D770
http://www.chyangwa.com/download/instruction/SONY/DSC-F1.pdfDSC-F1
http://www.chyangwa.com/download/instruction/SONY/DSC-F505.pdfDSC-F505
http://www.chyangwa.com/download/instruction/SONY/DSC-F505V(en).pdfDSC-F505V(en)
http://www.chyangwa.com/download/instruction/SONY/DSC-F55.pdfDSC-F55
http://www.chyangwa.com/download/instruction/SONY/DSC-F707(en).pdfDSC-F707(en)
http://www.chyangwa.com/download/instruction/SONY/DSC-P20(en).pdfDSC-P20(en)
http://www.chyangwa.com/download/instruction/SONY/DSC-P30-50(en).pdfDSC-P30-50(en)
http://www.chyangwa.com/download/instruction/SONY/DSC-P5(en).pdfDSC-P5(en)
http://www.chyangwa.com/download/instruction/SONY/DSC-S30-50.pdfDSC-S30-50
http://www.chyangwa.com/download/instruction/SONY/DSC-S70(EN).pdfDSC-S70(EN)
http://www.chyangwa.com/download/instruction/SONY/DSC-S75(en).pdfDSC-S75(en)
http://www.chyangwa.com/download/instruction/SONY/DSC-S85(en).pdfDSC-S85(en)
http://www.chyangwa.com/download/instruction/SONY/MVC-CD1000(en).pdfMVC-CD1000(en)
http://www.chyangwa.com/download/instruction/SONY/MVC-FD51.pdfMVC-FD51
http://www.chyangwa.com/download/instruction/SONY/MVC-FD5-7pdf.pdfMVC-FD5-7
http://www.chyangwa.com/download/instruction/SONY/MVC-FD71.pdfMVC-FD71
http://www.chyangwa.com/download/instruction/SONY/MVC-FD73.pdfMVC-FD73
http://www.chyangwa.com/download/instruction/SONY/MVC-FD81.pdfMVC-FD81
http://www.chyangwa.com/download/instruction/SONY/MVC-FD83-88.pdfMVC-FD83-88
http://www.chyangwa.com/download/instruction/SONY/MVC-FD85-95(EN).pdfMVC-FD85-95(EN)
http://www.chyangwa.com/download/instruction/SONY/MVC-FD91.pdfMVC-FD91
http://www.chyangwa.com/download/instruction/SONY/VX1000E%20PAL.pdfVX1000E PAL

Contax
http://www.chyangwa.com/download/instruction/Contax/167MT.zip 167MT
http://www.chyangwa.com/download/instruction/Contax/G2.zip G2

Rollei
http://www.chyangwa.com/download/instruction/Rollei/6008i.zip 6008i

Seagull
http://www.chyangwa.com/download/instruction/Seagull/DF-300.zip DF-300
http://www.chyangwa.com/download/instruction/Seagull/DF-500.zip DF-500
http://www.chyangwa.com/download/instruction/Seagull/4B.zip 4B
http://www.chyangwa.com/download/instruction/Seagull/DF-2.zip DF-2
http://www.chyangwa.com/download/instruction/Seagull/DF-200.zip DF-200
http://www.chyangwa.com/download/instruction/Seagull/DF-2000A.zip DF-2000A

Yashica
http://www.chyangwa.com/download/instruction/Yashica/109MultiPrgram.zip 109

Samsung
http://www.chyangwa.com/download/instruction/Samsung/AFI333.zip AFi333
http://www.chyangwa.com/download/instruction/Samsung/FINO1150.zip Fino1150
http://www.chyangwa.com/download/instruction/Samsung/FINO900S.zip Fino900s
http://www.chyangwa.com/download/instruction/Samsung/VEGA-140S.zip Vega 140s
http://www.chyangwa.com/download/instruction/Samsung/VEGA-77I.zip Vega 77i

发帖人: 记忆烙印发帖时间: 2003-11-02 13:09
1.ae锁
ae是automatic exposure自动曝光控制装置的缩写，ae锁就是锁定于某一ae设置，用于自动曝光时人为控制曝光量，保证主体曝光正常。
使用ae锁有几点需要注意：1、手动方式或自拍时不能使用自动曝光(ae)锁。 2、按下自动曝光(ae)锁之后不要再调节光圈大小。 3、用闪光灯摄影时不要使用(ae)锁。

2.ccd
中文译为\"电子耦合组件\"(charged coupled device)，它就像传统相机的底片一样，是感应光线的电路装置，你可以将它想象成一颗颗微小的感应粒子，铺满在光学镜头后方，当光线与图像从镜头透过、投射到ccd表面时，ccd就会产生电流，将感应到的内容转换成数码资料储存起来。ccd像素数目越多、单一像素尺寸越大，收集到的图像就会越清晰。因此，尽管ccd数目并不是决定图像品质的唯一重点，我们仍然可以把它当成相机等级的重要判准之一。

3.cmos
comple-mentary metal-oxicle-semiconductor，中文译为\"互补金属氧化物半导体\"

4.dpof
dpof指的是数码打印顺序指令，用于在存储介质（影像记忆卡等）上记录信息。在此格式下，你可以设定将数码相机拍摄的那些影像进行打印以及进行打印多少张。

5.exif
所谓exif (exchangerable image file format for digital still cameras) ，就是由jeita(电子信息技术产业协会)制定的、决定记录jpeg 图像和声音的文件上的附加信息的方式的规格。

6.exif 2.2
exif 2.2 版是一种新改版的数码相机文件格式,其中包含实现最佳打印所必需的各种拍摄信息。

7.ptp
ptp是英语“图片传输协议(picture transfer protocol)”的缩写。
ptp是最早由柯达公司与微软协商制定的一种标准，符合这种标准的图像设备在接入windows xp系统之后可以更好地被系统和应用程序所共享，尤其在网络传输方面，系统可以直接访问这些设备用于建立网络相册时图片的上传、网上聊天时图片的传送等。
当然，这主要是为方便计算机知识不多的普通用户的，使相机、应用软件、网站....结合在一起更容易地完成一些傻瓜式功能。

8.tiff格式
tiff是一种比较灵活的图像格式，它的全称是tagged image file format，文件扩展名为tif或tiff。该格式支持256色、24位真彩色、32位色、48位色等多种色彩位，同时支持rgb、cmyk以及ycbcr等多种色彩模式，支持多平台。tiff文件可以是不压缩的，文件体积较大，也可以是压缩的，支持raw、rle、lzw、jpeg、 ccitt3组和4组等多种压缩方式

9.wave
这是录音时用的标准的windows文件格式，文件的扩展名为“wav”，数据本身的格式为pcm或压缩型。

10.图片传输协议
图片传输协议英文全称为：picture transfer protocol，缩写为ptp。 ptp是由柯达与微软协商制定的一种标准，符合这种标准的图像设备在接入windows xp系统之后可以更好地被系统和应用程序所共享，尤其在网络传输方面，系统可以直接访问这些设备用于建立网络相册时图片的上传、网上聊天时图片的传送等。当然，这主要是为方便计算机知识不多的普通用户的，使相机、应用软件、网站等结合在一起更容易地完成一些傻瓜式功能。

11.图像储存格式
由于数码相机拍下的图像文件很大，储存容量却有限，因此图像通常都会经过压缩再储存。最常见的图像储存格式就是jpeg和tiff档，jpeg经过高度压缩，能使档案变为原先的1/4、1/8或1/16大小左右，因此可以省下不少储存空间，不过相对也会让原始图像资料有所损失，许多相机都会提供特定的压缩比例供使用者自己选择。
tiff文件几乎未经压缩，所以图像会比jpeg保持地更完整。不过因为图像分辨率越高、压缩越小就越占记忆空间，所以拍照时必须兼顾对图像的品质要求与记忆卡容量。举例来说，一张8mb的smartmedia内存卡存640×480分辨率、高压缩格式的照片可能可以存80张，可是如果存1024×768、未压缩格式的照片就只能存3张，差异其实非常大，因此拍摄前必须先预设储存模式或干脆准备好足够的内存卡。

12.无损和有损压缩
无损压缩和有损压缩是数码图像文件压缩的两种类型。
无损压缩是对文件本身的压缩，和其它数据文件的压缩一样，是对文件的数据存储方式进行优化，采用某种算法表示重复的数据信息，文件可以完全还原，不会影响文件内容，对于数码图像而言，也就不会使图像细节有任何损失。而有损压缩是对图像本身的改变，在保存图像时保留了较多的亮度信息，而将色相和色纯度的信息和周围的像素进行合并，合并的比例不同，压缩的比例也不同，由于信息量减少了，所以压缩比可以很高，图像质量也会相应的下降。

13.gt镜头
gt镜头是指美能达独特设计的多片多组配合巧妙的镜头组件，镜头镜片使用高档低色散光学玻璃，其中包含多枚模铸成型非球面镜片等等。也就是说美能达的 g 系列高档专业传统相机（银盐相机）使用的镜头称为af镜头，而美能达将生产 g 系列镜头的工艺技术应用于数码相机的设计生产中，所生产出的产品就称为 gt 镜头。

14.蔡司镜头
即zeiss。蔡司是一家致力於应用研究，对於光学、玻璃技术、精密技术以及电子等高品质的产品开发、制造、销售有贡献的德国企业，从 1846 年开始，carl zeiss 已开设生产显微镜的工作坊。zeiss镜头，专业的摄像，摄影镜头

15.广角镜
即wide angle，又叫短焦镜头。广角镜因焦距非常短，所以投射到底片上的景物就变小了扩阔镜头拍摄角度，除可拍摄更多景物，更能在狭窄的环境下拍摄出宽阔角度的影像。

16.iesp自动聚焦
iesp英语intelligent electro selective pattern（智能电子选择模式）的缩写。iesp自动聚焦是数码相机在对焦范围内做多重区块分割（有资料称分割方式为扇形分割），再将分割区块所测得焦点位置综合运算，根据主体的不同状态，确定最佳焦距位。iesp自动聚焦在奥林巴斯数码相机的介绍中经常看到。

17.变焦
镜头的另一个重点在变焦能力，所谓的变焦能力包括光学变焦(optical zoom)与数码变焦(digital zoom)两种。两者虽然都有有助于望远拍摄时放大远方物体，但是只有光学变焦可以支持图像主体成像后，增加更多的像素，让主体不但变大，同时也相对更清晰。通常变焦倍数大者越适合用于望远拍摄。光学变焦同传统相机设计一样，取决于镜头的焦距，所以分辨率及画质不会改变。数码变焦只能将原先的图像尺寸裁小，让图像在lcd屏幕上变得比较大，但并不会有助于使细节更清晰。因此购买数码相机时，我们往往建议大家留意光学变焦的倍数。目前中端相机普遍都有3倍左右的光学变焦，不过也有具超长变焦功能的产品，例如10倍光学变焦的机种。

18.光学变焦
是依靠光学镜头结构来实现变焦，变焦方式与35mm相机差不多，就是通过摄像头的镜片移动来放大与缩小需要拍摄的景物，光学变焦倍数越大，能拍摄的景物就越远。如今的数码相机的光学变焦倍数大多在2倍－5倍之间，也有一些码相机拥有10倍的光学变焦效果。家用摄录机的光学变焦倍数在10倍~22倍，能比较清楚的拍到70米外的东西。使用增倍镜能够增大摄录机的光学变焦倍数。

19.数字变焦
即digital zoom，实际上是画面的电子放大，把原来ccd影像感应器上的一部份像素使用\\\"插值\\\"处理手段做放大,将ccd影像感应器上的像素用插值算法将画面放大到整个画面。通过数码变焦，拍摄的景物放大了，但它的清晰度会有一定程度的下降，有点像vcd或dvd中的zoom功能,所以数码变焦并没有太大的实际意义。目前数码相机的数码变焦一般在6倍左右，摄像机的数码变焦在44倍-600倍左右，实际使用中有40倍就足够了。如果变焦倍数不够，我们可以在镜头前加一增倍镜。如果拍摄的视角小，可以相应的加一广角镜。

20.智能变焦
全新独有的sony智能变焦功能．可放大变焦拍摄，不会将微粒放大，令放大的影像也能保持原有的细致质素．智能变焦因应不同影像尺寸的选择，提供不同程度的强化变焦功能．有别于数码变焦，智能变焦能保持画质与原本影像相同。

21.程序式自动曝光
程序式自动曝光是电子技术与人工智能相结合的产物，采用这种方式曝光时，相机不但能根据光线条件算出合适的曝光量，还能自动选择合适的曝光组合。

22.超焦距
由于镜头的后景深比较大，人们称对焦点以后的能清晰成像的距离为超焦距。傻瓜相机一般就利用了超焦距，利用短焦镜头在一定距离之后的景物都能比较清晰成像的特点，省去对焦功能，所以，一般低档的傻瓜相机并不能自动对焦，只是利用了超焦距而已。正如前面所说的，\\\"清晰\\\"不是一个绝对的概念，超焦距范围内的景物并非真正的清晰成像，由于不在对焦点上，肯定是模糊的，，只是模糊的程度一般人能够接受而已，这就是傻瓜相机拍摄的底片不能放大得太大的原因。

23.插值
插值（interpolation），有时也称为“重置样本”，是在不生成像素的情况下增加图像像素大小的一种方法，在周围像素色彩的基础上用数学公式计算丢失像素的色彩。有些相机使用插值，人为地增加图像的分辨率。

24.超级had图像传感器
内置应用\\\"super hole accumulation diode(had)\\\"电子画质提升技术的ccd影像感应器，提高ccd的感应性能及加强数码信号处理功能，有效地于拍摄影像时降噪及减低不必要的干扰，令画面更清晰明丽，色彩层次更分明，对现场光源不足或拍摄夜景时效果尤其显着。

25.ttl测光
即ttl light measuring。通过镜头测量通光量，与滤光镜的曝光，光圈焦距等参数无关。测光方式分为平均，局部，中央重点测光等。任何一种测光方法都大同小异，但像逆光这种照明法，被摄体的明暗反差出现极度的不同，或者是像显微摄影等方法，会出现不同的差别。

26.iso感光值
iso感光值是传统相机底片对光线反应的敏感程度测量值，通常以iso 数码表示，数码越大表示感旋光性越强，常用的表示方法有iso 100 、400 、1000等，一般而言，感光度越高，底片的颗粒越粗，放大后的效果较差，而数码相机为也套用此iso值来标示测光系统所采用的曝光，基准iso越低，所需曝光量越高。

27.存储介质
图像储存媒体为数码相机中储存图像的设备，一般我们称为记忆卡，而市面上数码相机所采用的记忆卡，主要有三种规格：smart media：体积小，价格较cf便宜，最大容量到64mb，可以磁盘转接卡、卡片阅读机或pcmcia做为转接设备。compactflash：价格较高，较sm卡厚一点，容量较大，最大可到128mb，速度较快，转接设备为卡片阅读机及pcmcia。memory stick：目前是sony专用的内存规格，只能用于sony的机器上。

28.cf闪存卡
一种袖珍闪存卡，（compact flash card）。像pc卡那样插入数码相机，它可用适配器，（又称转接卡），使之适应标准的pc卡阅读器或其他的pc卡设备。
cf存储卡的部分结构采用强化玻璃及金属外壳，cf存储卡采用standard ata/ide接口界面，配备有专门的pcm-cia适配器（转接卡），笔记本电脑的用户可直接在pcmcia插槽上使用，使数据很容易在数码相机与电脑之间传递。

29.sm闪存卡
即smart media，智能媒体卡，一种存储媒介。sm卡采用了ssfdg/flash内存卡，具有超小超薄超轻等特性，体积37（长）×45（宽）×0.76（厚）毫米，重量是1.8g，功耗低，容易升级，ｓｍ转换卡也有pcmcia界面，方便用户进行数据传送。

30.memory stick duo
memory stick duo即微型记忆棒，微型记忆棒的体积和重量都为普通记忆棒的三分之一左右，目前最大存储容量可以达到128mb。

31.优卡
优卡是lexar公司生产的一种数码相机存储介质，外形和一般的cf卡相同，可以用在使用cf卡的数码相机、pda、mp3等数码设备上，同时可以直接通过usb接口与计算机系统联机，用作移动存储器。

32.数字胶卷
数字胶卷是lexar公司生产的的一种数码相机的存储介质，同日立的sm卡、松下的sd卡、索尼的memorystick属同类的数字存储媒体。

33.pc卡转换器
一种接插件，可以把cf卡或sm卡插入其中，然后，整体作为一个pc卡插入计算机的pcmica插口，这是常用于便携机的一种通用扩展接口，可以接入pcmica内存卡、pcmica硬盘、pcmica调制解调器等。

34.irda红外接口
irda是infrared data association（红外线数据标准协会）的英文缩写，irda红外接口是一种红外线无线传输协议以及基于该协议的无线传输接口。支持irda接口的数码相机，可以无线地向支持irda通信的其它设备如笔记本电脑或打印机传输数码照片。

35.lcd取景
这是目前大多数数码相机必备的取景方式。lcd取景唯一的优点正是改正普通光学取景唯一的缺点，然而它正像windows 98一样，修正了windows95的bug同时产生了更多的bug。再看看lcd取景的缺点：首先lcd是耗电大户，他要占用整部相机1/3以上的电量；其次lcd取景的姿势必须是双手前伸，与眼睛保持一定距离，此时相机无法获得稳定的三角支撑，用低速快门很难拍出稳定清晰的相片，最后是lcd上显示的画面色彩、对比度与实际在电脑中看到的实际影像误差较大，而且即使标称百万像素的lcd看上去画面仍然很粗糙，无法观察拍摄体细节，面对这种画面你很难对你照的照片是否符合你的要求作出判断，所幸的是现在数码相机几乎同时配有普通光学取景和lcd取景，如果购买只有lcd取景器的数码相机有一定风险，除非您有足够把握能得到需要的效果。

36.lcd取景器
即liquid crystal display，液晶显示屏。有黑白和彩色，彩色中又有真彩和伪彩之分，伪彩便宜，但效果差。数码相机中用于取景和回放的lcd几乎都是目前最好的tft 真彩。 tft lcd 中又有反射和透射两种，反射式反射正面的环境光工作，从不同角度观察差别较大，显示较暗，但省电，造价低；透射式靠背后的灯光工作，角度变化小，显示明亮，但极为费电。

37.oled
为了形像说明oled构造，我们可以做个简单的比喻：每个oled单元就好比一块汉堡包，发光材料就是夹在中间的蔬菜。每个oled的显示单元都能受控制地产生三种不同颜色的光。oled与lcd一样，也有主动式和被动式之分。被动方式下由行列地址选中的单元被点亮。主动方式下，oled单元后有一个薄膜晶体管（tft），发光单元在tft驱动下点亮。主动式的oled比较省电，但被动式的oled显示性能更佳。
与lcd做比较，会发现oled优点不少。oled可以自身发光，而lcd则不发光。所以oled比lcd亮得多，对比度大，色彩效果好。oled也没有视角范围的限制，视角一般可达到160度，这样从侧面也不会失真。lcd需要背景灯光点亮，oled只需要点亮的单元才加电，并且电压较低，所以更加省电。oled的重量还比lcd轻得多。oled所需材料很少，制造工艺简单，量产时的成本要比lcd到少节省20%。不过现在oled最主要的缺点是寿命比lcd短，目前只能达到5000小时，而lcd可达10000小时。

38.ttl单反式取景
这是专业相机上必备的取景方式，也是真正没有误差的光学取景方式。这种取景器的取景范围可达实拍画面的95%。唯一缺点就是如果镜头过小，取景器会很暗，影响手动对焦。幸好现在都具备自动对焦，这一缺点已无大碍。当然，用了ttl单反取景器为了不至于过暗，厂家会用上大口径高级镜头，所以一般是半专业相机才配备此种镜头。奥林巴斯（olympus）的相机上经常使用这种取景器。

39.电子取景

电子取景器（evf），使用电子取景的视野率比光学取景器就大得多，如sony dsc-f707的evf的视野率就达到99%。而电子取景器也较为实用，这种取景方式不仅价格较便宜，使用时很省电，而且能在任何环境光线下采用。尽管取景器中的画面视角和色彩效果与最终结果不全相同，但使用一段时间后还是很快就会适应的。

40.光学取景器
传统普及型相机里常用的那种通过一组与拍摄镜头无关（高档傻瓜机上常与变焦镜头连动）的透镜取景的部件，造价低，但有视差，所看到的并不完全是所拍到的。

41.普通光学取景
这是最常见的取景方式，其唯一的缺点就是取景误差大。用过数码相机的朋友一定知道，数码相机的光学取景器在近距离拍摄时，上下左右位置误差与实际拍摄景像的误差很大（远距离不是特别明显），一般说来光学取景器看到的景像约占实际拍摄景像的85%。

42.多重测光模式
配备三种测光模式：定点测光、中央偏重测光及多重测光模式，以满足不同的摄影条件及目的。多重测光模式把影像分为49个区域，并对每一个区域进行测光，使拍摄影像获得均衡的曝光。

43.包围式曝光
包围式曝光（bracketing）是相机的一种高级功能。包围式曝光就是当你按下快门时，相机不是拍摄一张，而是以不同的曝光组合连续拍摄多张，从而保证总能有一张符合摄影者的曝光意图。使用包围式曝光需要先设定为包围曝光模式，拍摄时象平常一样拍摄就行了。包围式曝光一般使用于静止或慢速移动的拍摄对象，因为要连续拍摄多张，很难捕捉动体的最佳拍摄时机。

44.预闪曝光
特设预闪曝光功能(pre-flash exposure)，在一般的拍摄或微距拍摄时，使用预闪时所接收到的图像数据，能够更准确地测出闪光强度及曝光值，令拍摄的影像获得更佳的曝光程度。

45.防红眼功能
指在用闪光灯拍摄人像时，由于被摄者眼底血管的反光，使拍出照片上人的眼睛中有一个红点的现象。但一般现在的主流数码相机都具有防红眼功能，不过如果不打开的话，依旧不会起作用。

发帖人: 记忆烙印发帖时间: 2003-11-02 13:10
46.防手震功能
数码相机的防手震功能有两种：一是光学的，一是数码的。光学的防手震和传统相机是一样的，是在成像光路中设置特使设计的镜片，能够感知相机的震动，并根据震动的特点与程度自动调整光路，使成像稳定。而数码的防手震是通过软件计算的方法，利用成像扫描过程与机械快门开启的过程相互配合校正震动的影响，获取稳定的画面。一般而言，设计精良的光学防手震系统效果要可靠、真实一些。

47.超级红外线夜摄功能
sony首创的红外线夜摄功能，能够在全黑环境下进行拍摄，甚至连肉眼也不能分辨的物体，现在也可以清晰地拍摄下来。配合慢速快门开关*使用，影像细致悦目，更胜以前。
红外线夜摄功能的慢速快门为2段选择，超级红外线夜摄功能的慢速快门为自动调节。

48.自动省电功能
如果照相机在15秒以内无论何种原因没有使用，自动省电功能将起作用而关闭液晶显示（睡眠模式），这样可以避免电池不必要的耗电或者在照相机与电源ac适配器相连时防止电源电能消耗，当相机更长一段时间后还未使用时，自动省电功能将关闭相机电源，这个时间长度可以在相机上设定，可以是2到5分钟。

49.定焦相机
是指使用固定焦距镜头的相机。一般说来，使用定焦镜头的\\\"傻瓜\\\"相机要比同档价格的变焦\\\"傻瓜\\\"机体积小，成像质量也更胜一筹，选择这类相机的消费者看中的往往就是相机小巧的体积和出色的镜头质量。

50.变焦相机
简单说就是指相机使用的镜头焦距可以调节改变，这样我们可以通过改变镜头焦距来获得不同的视觉和拍摄效果。现在的优秀变焦\\\"傻瓜\\\"相机不仅拥有完全令人放心和满意的优质变焦镜头，能让使用者通过变换焦距来调节构图从而获得更满意的拍摄结果，设计者也非常注重突出它们时尚小巧漂亮的外型特点。

51.单反相机
单反就是指单镜头反光,即slr（single lens reflex）。在这种系统中，反光镜和棱镜的独到设计使得摄影者可以从取景器中直接观察到通过镜头的影像。单镜头反光照相机的构造图中可以看到，光线透过镜头到达反光镜后，折射到上面的对焦屏并结成影像，透过接目镜和五棱镜，我们可以在观景窗中看到外面的景物。拍摄时，当按下快门钮，反光镜便会往上弹起，软片前面的快门幕帘便同时打开，通过镜头的光线（影像）便投影到软片上使胶片感光，尔后反光镜便立即恢复原状，观景窗中再次可以看到影像。单镜头反光相机的这种构造，确定了它是完全透过镜头对焦拍摄的，它能使观景窗中所看到的影像和胶片上永远一样，它的取景范围和实际拍摄范围基本上一致，消除了旁轴平视取景照相机的视差现象，从学习摄影的角度来看，十分有利于直观地取景构图。单镜头反光相机还有一个很大的特点就是可以交换不同规格的镜头。

52.数码相机
数码相机与传统相机不论是外型或功能上都相同，主要都是在将动态或静态图像作瞬间捕捉并保存下来。数码相机与传统相机最显而易见的不同点就在储存媒介上，数码相机是利用可记录图像的磁盘片或记忆卡来存取图像，拍摄完毕之后则可以使用rs-232、epp、usb等标准计算机联机方式传输到计算机做处理，也可以由具有特殊功能的打印机直接打印出来，其最大的优点在于当拍摄效果不满意时，可以及时删除并且重拍，同时在储存媒介上也不需要像传统相机一般时常购买底片，可以节省底片的费用，并且同时节省冲印费。而在处理的效率方面，数码相机也比传统相机占了非常大的优势，过去一个活动下来所拍摄的数百张照片，假使透过传统相机的话，必须等待冲洗、邮寄的时间，而现在却只要透过数码相机将图像传至计算机中，再利用电子邮件邮寄就可以实时传给所参加的人员，因此数码相机在这个事事讲究效率的时代，可以说是一项非常方便的图像设备之一。

53.红眼
\\\"红眼\\\"是指数码相机在闪光灯模式下拍摄人像特写时，在照片上人眼的瞳孔呈现红色斑点的现象。可以理解为在比较暗的环境中，人眼的瞳孔会放大，此时，如果闪光灯的光轴和相机镜头的光轴比较近，强烈的闪光灯光线会通过人的眼底反射入镜头，眼底有丰富的毛细血管，这些血管是红色的，所以就形成了红色的光斑。防红眼是闪光灯的一种功能，是在正式闪光之前预闪一次，使人眼的瞳孔缩小，从而减轻红眼现象。

54.对比度
对比度指的是一幅图像中明暗区域最亮的白和最暗的黑之间不同亮度层级的测量，差异范围越大代表对比越大，差异范围越小代表对比越小，好的对比率120:1就可容易地显示生动、丰富的色彩，当对比率高达300:1时，便可支持各阶的颜色。但对比率遭受和亮度相同的困境，现今尚无一套有效又公正的标准来衡量对比率，所以最好的辨识方式还是依靠使用者眼睛。

55.白平衡
即white balance。物体颜色会因投射光线颜色产生改变，在不同光线的场合下拍摄出的照片会有不同的色温。例如以钨丝灯(电灯泡)照明的环境拍出的照片可能偏黄，一般来说，ccd没有办法像人眼一样会自动修正光线的改变。所以通过白平衡的修正，它会按目前画像中图像特质，立即调整整个图像红绿蓝三色的强度，以修正外部光线所造成的误差。有些相机除了设计自动白平衡或特定色温白平衡功能外，也提供手动白平衡调整。

56.分辨率
用于量度位图图像内数据量多少的一个参数。通常表示成ppi（每英寸像素）。包含的数据越多，图形文件的长度就越大，也能表现更丰富的细节。但更大的文件也需要耗用更多的计算机资源，更多的ram，更大的硬盘空间等等。在另一方面，假如图像包含的数据不够充分（图形分辨率较低），就会显得相当粗糙，特别是把图像放大为一个较大尺寸观看的时候。所以在图片创建期间，我们必须根据图像最终的用途决定正确的分辨率。这里的技巧是要首先保证图像包含足够多的数据，能满足最终输出的需要。同时也要适量，尽量少占用一些计算机的资源。
通常，“分辨率”被表示成每一个方向上的像素数量，比如640x480等。而在某些情况下，它也可以同时表示成“每英寸像素”（ppi）以及图形的长度和宽度。比如72ppi，和8x6英寸。
ppi和dpi（每英寸点数）经常都会出现混用现象。从技术角度说，“像素”（p）只存在于计算机显示领域，而“点”（d）只出现于打印或印刷领域。请读者注意分辨。

57.感光度
感光度（sensitivity），根据光源的不同强度调节相机的感光能力。
用传统相机时，我们可因应拍摄环境的亮度来选购不同感光度(速度)的底片，例如一般阴天的环境可用iso200，黑暗如舞台，演唱会的环境可用iso400或更高，而数码相机内也有类似的功能，它借着改变感光芯片里讯号放大器的放大倍数来改变iso值，但当提升iso值时，放大器也会把讯号中的噪声放大，产生粗微粒的影像。

58.光圈
光圈是一个用来控制光线透过镜头，进入机身内感光面的光量的装置，它通常是在镜头内。表达光圈大小我们是用f值。
光圈f值 = 镜头的焦距 / 镜头口径的直径
从以上的公式可知要达到相同的光圈f值，长焦距镜头的口径要比短焦距镜头的口径大。完整的光圈值系列如下:
f1， f1。4， f2， f2。8， f4， f5。6， f8， f11， f16， f22， f32， f44， f64
这里值得一题的是光圈f值愈小，在同一单位时间内的进光量便愈多，而且上一级的进光量刚是下一级的一倍，例如光圈从f8调整到f5.6，进光量便多一倍，我们也说光圈开大了一级。对于消费型数码相机而言，光圈f值常常介于f2.8 - f16。，此外许多数码相机在调整光圈时，可以做1/3级的调整。

59.光圈及快门优先
进阶级以上的数码相机除了提供全自动(auto)模式，通常还会有光圈优先(aperture priority)、快门优先(shutter priority)两种选项，让你在某些场合可以先决定某光圈值或某快门值，然后分别搭配适合的快门或光圈，以呈现画面不同的景深(锐利度)或效果。

60.光圈先决曝光模式
由我们先自行决定光圈f值后，相机测光系统依当时光线的情形，自动选择适当的快门速度（可为精确无段式的快门速度）以配合。设有曝光模式转盘的数码相机，通常都会在转盘上刻上\\\'ａ\\\'字母来代表光圈先决模式（见图四）。光圈先决模式适合于重视景深效果的摄影。
由于数码相机的焦距比传统相机的焦距短很多，使镜头的口径开度小，故很难产生较窄的景深。有部份数码相机会有一特别的人像曝光模式，利用内置程序令前景及后景模糊。

发帖人: 记忆烙印发帖时间: 2003-11-02 13:11

61.焦距
如果你在相机的英文规格书上看过\\\"f =\\\"，那么后面接的数码通常就是它的焦长，即焦距长度。如
\\\"f=8-24mm，38-115mm(35mm equivalent)\\\"，就是指这台相机的焦距长度为8-24mm，同时对角线的视角换算后相当于传统35mm相机的38-115mm焦长。一般而言，35mm相机的标准镜头焦长约是28-70mm，因此如果焦长高于70mm就代表支持望远效果，若是低于28mm就表示有广角拍摄能力。
\\\"可对焦范围\\\"则是焦长的延伸，通常分为一般拍摄距离与近拍距离，相机的一般拍摄距离通常都标示为\\\"从某公分到无限远\\\"，而进阶级设计的产品则往往还会提供近距离拍摄功能(macro)，以弥补一般拍摄模式下无法对焦的问题。有些相机就非常强调具有支持1公分近拍的神奇能力，适合用来拍摄精细的物体。

62.景深
在进行拍摄时，调节相机镜头，使距离相机一定距离的景物清晰成像的过程，叫做对焦，那个景物所在的点，称为对焦点，因为\\\"清晰\\\"并不是一种绝对的概念，所以，对焦点前（靠近相机）、后一定距离内的景物的成像都可以是清晰的，这个前后范围的总和，就叫做景深，意思是只要在这个范围之内的景物，都能清楚地拍摄到。景深的大小，首先与镜头焦距有关，焦距长的镜头，景深小，焦距短的镜头景深大。其次，景深与光圈有关，光圈越小（数值越大，例如f16的光圈比f11的光圈小），景深就越大；光圈越大（数值越小，例如f2.8的光圈大于f5.6）景深就越小。其次，前景深小于后后景深，也就是说，精确对焦之后，对焦点前面只有很短一点距离内的景物能清晰成像，而对焦点后面很长一段距离内的景物，都是清晰的。

63.环形光灯
环形闪光灯是直接安装在相机镜头上，发光管呈环形的一种灯具，功率较小，多配有效果灯，光线均匀没有阴影，非常适合微距摄影，在医学和科研领域非常有用。在近距和微距摄影中，由于被摄体和距离镜头很近，普通闪光灯会产生浓重的阴影，曝光量也不容易控制，这时候常常用到环形闪光灯。

64.镜间焦平面快门
镜间快门由一系列薄钢叶片组成，放置在镜头的单元之间。快门释放按钮触发一根弹簧使叶片在曝光期间开启，然后闭合。这种类型的快门又叫做叶片快门。焦平面快门位于照相机里，正好在胶片的前面。由于它就在焦点平面，也就是胶片位置的前面，因此而得名。比较起来焦平面快门具有如下两个优点：首先，因为焦平面快门是装在相机机身里，而不是装在镜头里，这样可互换的镜头往往并不是太昂贵。但对于叶片快门来说，快门就是镜头的一部分，因此包含叶片快门的镜头会比较昂贵。其次，焦平面快门能够具有更快的曝光速度，为了了解其中的原因，有必要知道一点焦平面快门的工作原理，焦平面快门的运转有些像一对卷轴式的窗帘。首先，第一副帘拉起，快门打开并允许光线照射胶片。然后，当预定的曝光结束之后，第二副帘跟随第一副帘运动并阻挡住光线。这就是焦平面快门工作时幕帘越过胶片的速度具有上限的原因。

65.镜头的mtf
镜头的mtf是反映镜头成像质量的一个测试参数和镜头对现实世界的再现能力，mtf的英文全称是modular transfer function。镜头的mtf虽被除几个镜头生产商所采纳，但并不是国际标准。由于数码相机是光电一体化的产品，尤其是非专业机型，镜头是不可更换的，成像不仅反映了镜头的成像性能，而mtf只是反映镜头成像质量好坏的参数之一。

66.镜头组
数码相机的镜头由多片镜片组成，材质则分为玻璃与塑料两类。有的厂商强调，他们的相机镜头以玻璃为材料，所以透光率佳、投射图像更清晰。不过目前许多测试报告都显示，玻璃的透镜并不一定比塑料材料能带来更清晰的图像，同时玻璃镜头也可能增加相机重量，因此选购时还是应该做多面向观察，不要拘泥在镜头材质问题上。

67.口径
口径（lens thread），相机镜头前端的直径。

68.快门
是镜头前阻挡光线进来的装置，一般而言快门的时间范围越大越好。秒数低适合拍运动中的物体，某款相机就强调快门最快能到1/16000秒，可轻松抓住急速移动的目标。不过当你要拍的是夜晚的车水马龙，快门时间就要拉长，常见照片中丝绢般的水流效果也要用慢速快门才能拍出来。
至于单眼相机常见的b快门功能，虽然可由你自由决定曝光时间的长短，拍摄弹性更高，不过目前大多数的消费性数码相机都还不能支持，最多提供如2秒、8秒、16秒等较慢速度的默认值。

69.快门时滞时间
相机在不使用对焦锁定功能同时保证在自动对焦工作状态下，从按下快门释放按钮到开始曝光的这段时间称为快门时滞时间。

70.快门先决曝光模式
由我们先自行决定快门速度后，相机测光系统依当时光线的情形，自动选择适当的光圈f值（可为无段式的f值）以配合。设有曝光模式转盘的数码相机，通常都会在转盘上刻上\\\'s\\\'字母来代表快门先决模式。快门先决模式适合于需要控制快门的摄影。利用高速快门可凝结动作，利用慢速快门可令行驶中的车辆变成光束。

71.快门延迟
相机按下快门，这时相机自动对焦、测光、计算曝光量、选择合适曝光组合…进行数据计算和存储处理所需要的时间称为快门延迟。

72.连拍速度
连拍速度（burst speed），数码相机由于拍摄要经过光电转换，a/d转换及媒体记录等过程，其中无论转换还是记录都需要花费时间，特别是记录花费时间较多。因此，所有数码相机的连拍速度都不很快。目前，数码相机中最快的连拍速度为7帧/秒，而且连拍3秒钟后必须再过几秒才能继续拍摄。当然，连拍速度对于摄影记者和体育摄影受好者是必须注意的指标，而普通摄影场合可以不必考虑

73.连续快拍模式
过连续快拍模式，只须轻按按钮，即可连续拍摄，将连续动作生动地记录下来。

74.亮度
亮度和对比有些相似，都是用来表示一幅图像中明暗区域的相互关系，不同的是亮度主要用来表示明暗色调间的平衡，也就是明暗色调间的强度，而对比决定的则是明暗层次的数目。

75.偏振镜
偏振镜又称偏光镜，分为圆偏（cpl）和线偏(pl)两种，偏振镜是相机的附属配件。光线本身是一种电磁波，经反射和漫射之后，某个方向的振动会减弱，从而成为偏振光，因而，光滑物体表面的反光和天空的漫射光就是偏振光，而这些光线会影响摄影成像的清晰度。偏振镜可以选择让某个方向振动的光线通过，于是使用偏振镜可以减弱物体表面的反光，可以突出蓝天白云和压暗天空，在静物摄影和风光摄影中，偏振镜十分有用。

76.曝光补偿
它也是一种曝光控制方式，一般常见在±2-3ev左右，如果环境光源偏暗，即可增加曝光值(如调整为+1ev、+2ev)以突显画面的清晰度。

77.曝光量
曝光量是图像构成最原始的关键因素，它主要由光圈(aperture)以及快门(shutter)两方面决定。

78.全息自动对焦
全息自动对焦功能(hologram af)，是一种崭新自动对焦光学系统，采用先进激光全息摄影技术，利用激光点检测拍摄主体的边缘，就算在黑暗的环境亦能拍摄准确对焦的照片，有效拍摄距离达4.5米。

79.色彩深度
色彩深度（depth of color），色彩深度又叫色彩位数，它是用来表示数码相机的色彩分辨能力。红、绿、蓝三个颜色通道中每种颜色为n位的数码相机，总的色彩位数为3n，可以分辨的颜色总数为23n，如一个24位的数码相机可得到总数为2（24次方），即16 777 216种颜色。数码相机的色彩位数越多，意味着可捕获的细节数量也越多。通常数码相机有24位的色彩位数已足够，广告摄影等特殊行业用的数码相机，一般也只需30位或36位的色彩深度就可以。

80.闪光灯
闪光灯也是加强曝光量的方式之一，尤其在昏暗的地方，打闪光灯有助于让景物更明亮。不过在拍人物时，闪光灯的光线可能会在眼睛的瞳孔发生残留的现象，进而发生「红眼」的情形，因此许多相机商都将\\\"消除红眼\\\"这项功能加入设计，在闪光灯开启前先打出微弱光让瞳孔适应，然后再执行真正的闪光，避免红眼发生。

81.闪光灯的慢同步
慢同步（slow）是相机与闪光灯配合实现的一种高级功能。闪光灯的慢同步是指在清晨、傍晚或有一定灯光照明的晚上，适当降低快门速度，同时使用闪光灯，可以在保证主体曝光正常的同时使背景适当曝光，丰富画面效果。
慢同步有两种模式：前同步和后同步。前同步指在快门完全开启后立即闪光，适用于一般情况，便于捕捉拍摄时机，例如人物的神态；后同步指在快门将要关闭的时候闪光，适用于拍摄动体，可以拉出动体的运动轨迹，形成强烈的动感效果。

82.闪光灯指数gn
闪光灯指数gn是反映闪光灯功率大小的指数之一，好的闪光灯应该输出稳定并可调、色温标准（一般为5500k左右，与日光相同）、回电速度快、可转向、可改变光照范围等。对于iso 100感光度的胶卷或数码相机设置而言，gn ＝光圈系数 x 拍摄距离（米）。

83.数码照片的紫边
数码相机的紫边是指数码相机在拍摄取过程中由于被摄物体反差较大，在高光与低光部位交界处出现的色斑的现象即为数码相机的紫色（或其它颜色）。紫边出现的原因与相机镜头的色散、ccd成像面积过小（成像单元密度大）、相机内部的信号处理算法等有关。

84.杂色或噪点
杂色或噪点（noise），图像中不该出现的外来像素，通常由电子干扰产生。看起来就像图像被弄脏了，布满一些细小的糙点。

85.数字机背
数字机背又称数字后背，是有ccd芯片和数字处理等部分，而没有镜头等机构，只有加附于其他传统照相机机身上才能拍摄使用的装置，是加用于中幅照相机和大型照相机上，使中幅照相机和大型照相机可进行数字化拍摄的装置。

86.双模式
指数码相机本身同时具备有数码相机的单张静态摄影与视讯摄影机的连续动态摄影两种模式。

87.伪色彩
\\\"伪色彩\\\"指照片暗部出现的彩色条纹及噪点，这是由于暗部图像信号弱，信噪比降低，光电干扰信号显露出来造成的，由于是实际图像不应该有的干扰信号，故称\\\"伪色彩\\\"。

88.相当于35mm相机
目前的数码相机的成像器件面积都小于普通的135胶卷的面积，所以其镜头焦距很短，说到其镜头焦距时常不说其实际的物理焦距，而说与其视角相当的35mm（国内的135）相机的镜头焦距，也就是说，其\\\"镜头的视角相当于xx\\\"。

发帖人: 新源数码发帖时间: 2003-11-02 13:12
非常好，感谢烙印的辛苦工作

发帖人: 记忆烙印发帖时间: 2003-11-02 13:14
大多数数码相机用户都忽略了说明书上注明的“数码相机是一种精巧、易损坏的光学装置”。几乎没有人会阅读说明书后面的使用说明，警告用户不要在雨天、烟雾、结冻的天气里或爆炸空气中使用相机。

数码相机厂商都非常希望用户能在一种理想环境下使用数码相机，不要太热，也不要太冷，更不能掉落在坚硬表面上。但遗憾的是，这些时候往往无法拍摄出精美照片。

本文要讲述的就是如何在拍摄精采照片的同时保护好你的相机。

如何保养相机

在你外出度假或出门散步之前，带好备用电池和数码储存卡，因为说不定什么时候你会碰到一个绝好的拍摄机会。把备用电池放在家里或锁在汽车里是很不好的习惯。许多摄影师都买了钥匙链夹子，把储存卡放进去，然后系到相机带上。

数码相机装上胶片和充足电的电池就能进行拍照，但除此之外，它还需要保养，保养的形式多种多样。

把相机放在包里

首先，你需要一个结实、好用的摄影包来装相机、数码存储卡、电池套件，再奢侈一些还需要辅助镜头或小型便携式三角架。

摄影包的领先厂商如Tamrac、Lowepro和Domke使用高质量的原材料，更好的防震保护和极佳的背带和金属硬件。这些装置都已减小了尺寸，更适合于放置数码相机。

如果你想购买新款摄影包，最好找稍大一点的。如果你买的摄影包在每次取东西的时候，都要把里面的东西全部拿出来，那你肯定不会喜欢，因为这样的话会错过许多很好的拍摄机会，而且也烦人。要买摄影包的时候最到把相机和附件带上，看一看哪种摄影包最适合你。

如何背挎包也非常讲究。调整好摄影包上的带子，不要使相机离你的身体太远，否则它会从你的身上弹起，碰到别人或撞到其它物体。最理想的办法是，摄影包挂得稍高一些，这样你手臂可以防止它受碰撞，而且还可以防小偷。同时要注意，背相机时镜头朝里（向着你的身体）也可起到保护作用。

保持相机干净

镜头上的污迹会严重降低图像质量，出现斑点或减弱图像对比度。而手指碰到镜头，这是不可避免的，灰尘和沙砾也会落到光学装置上。

这就是我们为什么需要对相机进行清洗的原因。清洗工具非常简单：镜头纸或是带有纤维布的精细工具、镜头刷和清洗套装。千万别用硬纸、纸巾或餐巾纸来清洗镜头。这些产品都包含有刮擦性的木质纸浆，会严重损害相机镜头上的易碎涂层。

清洗纸不使用时，把微纤维清洗布放在原容器里，以保持干净。微纤维布非常耐洗，可定期与衣服一起洗。尽量不要使用棉花T恤衫或其它纤维，因为粗砾可能会渗进去。如果用刷子清洗镜头上的尘土和碎片，不要将刷子上的毛与手或手指接触，皮肤上的油会传染到毛上，然后粘在镜头上。

清除镜头上尘土的另外一个办法就是经常使用镜头。如果你的相机有一个镜头盖，可以用一根带子、橡皮带或“镜头固定”装置将它固定在相机机身上。

冷热天气也会影响相机。如果相机原来在空调房间，而后马上放在一个较热、潮湿的环境下，镜头和取景器上都会有雾点出现。这时需要用合适的薄纸或布来清洗。如果你带着相机从寒冷、干燥的室外进入室内，最好先把相机放在包里面预热一下，然后再拿出放在屋子里。并且要小心镜头，看它是不是“出汗”了，如果出汗了要立即采取行动。

专业摄影人士的一条建议非常简便，也许你会不相信：随身带一个塑料拉链锁袋子。在非常潮湿或尘土的气候里，你可以在侧面挖一个小洞刚好放得下相机镜头然后把相机放在袋子里，不让雾气、湿气和尘土进入相机，会延长它的使用寿命。（如图）

最后，不要把相机放进湿度较高的汽车后坐，汽车内部就像火炉一样，会使塑料变形，电线受损。

许多厂商都会建议：如果两周或更长时间不用相机，最好把电池拿出来，因为电池会漏电腐烂，有时候会影响电路连接，使相机无法正常工作。
清洗相机机身

相机外部可以用一个柔软的棉绒布清洗。打开存贮仓和电池仓的档板，用软刷或吹气球将尘土清洗干净。如果必要的话，用酒精来擦洗相机的金属部分。

清洗镜头

只有在非常必要时才对镜头进行清洗。镜头上有一丁点的尘土并不会影响图像质量。清洗时，用软刷和吹气球清除尘埃。而指印对镜头的色料涂层非常有害，应尽快清除。在不使用时，最好盖上镜头盖，以减少清洗的次数。

清洗镜头时，先使用软刷和吹气球去除尘埃颗粒，然后才使用镜头清洗布。滴一小滴镜头清洗液在拭纸上（注意不要将清洗液直接滴在镜头上），并用专用棉纸反复拭擦镜头表面，然后用一干净的棉纱布擦净镜头，直至镜头干爽为止。如果你没有专用的清洗液，那你可以在镜头表面呵口气，虽然效果没有清洗液，但同样能使镜头干净。注意：务必使用棉纸，而且在擦洗时，不要用力挤压，因为镜头表面覆有一层比较容易受损的涂层。

防热

相机不能直接暴露于高温环境下，不要将相机遗忘在被太阳晒得炙热的汽车里。如果相机不得不晒在太阳下（如你在沙滩上时），要用一块有色而且避沙的毛巾或裱有锡箔的遮挡工具来避光，不要用黑色工具，因为黑色只会吸光，会使情况变得更糟。

在室内时，不要把相机放在取暖器或其它高温或潮湿的地方。

防寒

通过将相机藏于口袋的方法，让相机保持适宜温度，而且要携带额外的电池，因为相机在低温下可能会停止工作，这就好象在寒冷天气下要给汽车预热相似。

在将相机从寒冷区带入温暖区时，往往会有倒汗现象发生，因而你需要用报纸或塑料袋将相机包好，直至相机温度升至室内温度时才使用相机。除了倒汗现象，将相机从低温放到高温还会使相机出现一些压缩现象，当然肉眼是看不出的，但一定要注意不要使相机的温度在骤然间变化。

防水，防雾和防沙

防止相机接触到水（特别是咸水）、灰尘和沙粒，所以相机盒是很有用的。在沙滩上时，塑料袋的效果更好。在雾或雨中拍摄时，用塑料袋罩住相机，并割一个小孔以让镜头伸出来拍照，然后用胶带将塑料袋密封，当然你还要开一个天窗，以便于你*作相机。在不影响拍摄时，加上一个天光滤色镜有利于防止雾和压缩情况出现。

旅行防护

使用镜头盖保护镜头，将小器件和配件放在包里和手里，而且用一定的软物把它们隔开，保证它们不会互相碰撞。尤其是容易受损的器材，要包上一层软物。乘飞机时，金属探测器的破坏程度比行李检测器的破坏程度要稍差些，必要时可请求人工检测，以尽可能减少X射线的损伤。

相机保藏

保藏相机要远离灰层和潮湿，其中相机包或相机箱是性能非常好的保藏工具，在保存前，要先取出电池。

保护你自己

在室外旅行时，不要将相机绳套在脖子上。

发帖人: 记忆烙印发帖时间: 2003-11-02 13:16
相信大家都有这样的经验：在买数码相机的时候，厂家随机标配的存储卡都十分的小，一般为16MB，最多的只有32MB。如此小的存储量，对一般的玩家用来旅行时拍拍风景人物照也难以满足，对高级的专业的玩家更加是没什么用武之地！所以，为心爱的DC选购一张优质的存储卡是一项少不了的工作。存储卡这个东西，作用说小也真不小，对DC玩家来说，讨厌的事莫过于出外照了许多漂亮的照片和重要的照片然而回家时打不开取不出来了！要避免这种事的发生，还是挑一张优质的卡吧！

卖的最火热的当数CF卡厂家的老大哥sandisk莫属啦！几乎家家卖数码的商铺都能找到它的身影，还有sandisk的sd卡！sandisk居然牛气到承诺5年保修的服务！这么优秀的质量加上这么响当当的名字，但是它的售价也不是太高，只比杂牌的卡贵几十元！这对消费者来说真是一个天大的好消息！宣传海报到处可见，可见sandisk对它的产品是多么的充满信心！大牌子的还有三星，在电脑城里卖的也是十分火热，不过三星主打的是SM卡的市场。至于其他牌子鹰泰（eagle tec）、全景（photomax）、PQI、apacer等等，这些牌子的存储卡售价差不多，较名牌的便宜一些。而且鹰泰的产品比较齐全，各类的存储卡都有。

先来说说CF卡。目前许多牌子的DC都是使用CF卡，有尼康、佳能、柯达等等都是使用cf卡，CF卡包含记忆口和一个控制器。任一可使用CF卡的数码相机都能用各种型号或大小的CF卡，不存在兼容性，或者是升级需要的问题。也就是说，可随意兼容Type I（最原始的），或是Type II（更厚）的CF卡。CF卡是目前最普遍最方便最便宜的存储卡。有一点要提醒大家的是，佳能的相机对卡的要求特别的高，很多杂牌的存储卡在佳能的DC上使用的并不顺利，严重的甚至不能使用！所以佳能DC的玩家要特别小心啦，买卡的时候要仔细的试用啦，尽量挑名牌的卡吧（首推当然是sandisk啦）！

由于价格便宜，现在CF卡主流的容量是128MB和256MB；市场上货源充足的牌子有鹰泰、全景和三星，当然还有响当当的sandisk！普通牌子的128MB卖280左右、256MB的卖520左右；sandisk的就贵50块左右！sandisk的产品档次较高，从包装到质量和其他牌子的有明显的区别！sandisk还有512MB的大容量CF卡，但是售价也不简单，要1200！根据商家反映，sandisk的卡质量最好，兼容性、适应性都是CF卡中最好的，销量也很不错，卖了很多至今还没有一块坏的返修的！！看来这50元的差价也是蛮划算的！鹰泰的质量还不错！这些意见给大家做个参考吧！

SM卡方面。使用SM卡的相机有奥林巴斯、富士等，SM卡没有控制器，它们是非常简单的存储卡，由塑胶制成，被分成了许多薄片。控制器需内置于数码相机，这导致相机的兼容性不强容量不大。市场上SM卡货源最多卖的最火热的非三星莫属了。其他牌子的有鹰泰和PQI等。SM卡的价钱和CF卡差不多，128m的买280左右。商家反映PQI的质量不错，玩家买卡时除了考虑三星外也可以关注一下这个牌子。

SD卡方面，主要是松下的DC所配备。SD卡的售价较以上两种卡要高，128m的要卖500块。主流的牌子有鹰泰、全景等，而sandisk在SD卡方面也有所作为，售价也不算太高，这个名牌存储卡还有256m的SD卡在热销，但是价格就较难接受，要1000多,不太值得。商家的反映是全景的卡较受欢迎，因为全景的兼容性好，比鹰泰的要好！至于质量就两家都差不多，还过得去。

至于索尼记忆棒，一般商家都是卖原装的索尼。记忆棒的售价和sd卡差不多，128MB的原装索尼卖600左右，(不过apacer的比原装的便宜一百多块！非常划算）但是商家说消费者对apacer的记忆棒还是蛮喜欢的，就是不容易找到。

而新出的xd存储卡，因为是新技术新推出的，只有原装的在卖，而且容量也不大，多数为32m、64m的，128m的只有少数几家商铺有卖。售价还可以让人接受，64m的卖300多一点，128m的卖600多。

还有一点要说明的是，在电脑城买DC的存储卡是享有“三包”权利的，即除了享有厂家提供的保修外，一般15天内有问题是可以换。所以消费者在购买时要询问清楚商家的承诺，问清楚多少天保换之类的问题……还有就是不要忘了索要销售单据哦！

希望能给广大DC玩家和网友们带来一些指导和启发吧！

发帖人: 记忆烙印发帖时间: 2003-11-02 13:17
关于闪光灯的指数
标识闪光灯（现在均指电子闪光灯）性能的一个重要参数就是闪光灯的功率。闪光灯功率的大小通常是用指数GN表示的，对于ISO 100感光度的胶卷或数码相机设置而言，GN ＝光圈系数 x 拍摄距离（米），因为闪光灯的发光时间非常短（1/300秒 -- 1/20000秒）所以快门速度只要能达到闪光同步，对闪光曝光几乎没有影响，曝光量由光圈和闪光灯的输出量控制。例如，使用指数GN ＝24的闪光灯全光输出作主灯拍摄，感光度设定在ISO 100，拍摄距离为3米，则正确曝光的参考光圈系数为 24/3 ＝F8。如果使用其它感光度的胶卷或调整数码相机的感光度，则可以使用下面的公式计算新的指数：

新指数＝开平方（新ISO值 / 100） x 标称指数

当然，指数并不是反映闪光灯性能的唯一参数。好的闪光灯应该输出稳定并可调、色温标准（一般为5500K左右，与日光相同）、回电速度快、可转向、可改变光照范围等。

自身有自动闪光功能的闪光灯可以根据被摄体的反光控制输出比例，目前的流行趋势是和相机配合的自动闪光，即E-TTL自动闪光，在正式拍摄之前，先行预闪，根据被摄体的反光，不但可以改变闪光的输出量，相机还可能改变曝光组合甚至白平衡（数码相机）。

发帖人: 记忆烙印发帖时间: 2003-11-02 13:17
怎样清洁镜头？[转帖]

数码相机大多无法安装保护滤镜，或者安装非常不便。平时在拍摄时镜头裸露在外面很容易一不小心就弄上点灰尘、按上一个手印或留下点唾沫什么的。虽说镜头表面的指印、灰尘、水渍对于成像并无太大影响。只要不让强烈的阳光直射到镜头上引起灰雾眩光就可以了。但是喜爱相机的你又怎能容忍心爱的相机镜头变成大花脸？不干净怎么办？擦呗！

　　现在的镜头一般都有多层镀膜，一不小心就会把镀膜擦伤，镜片擦花。对镜头造成不可挽回的损失。我到底是擦还是不擦呢？我的经验是镜头总是越擦越糟，而不是越擦越好，不要指望可以把镜头恢复到刚出厂时崭新模样。所以我们建议不到万不得已不要擦拭镜头。

　　开擦之前先得准备一些工具。常规武器有镜头水、镜头纸（或者湿镜头纸）、镜头布（或麂皮）、吹气球、脱脂棉。好，下面开始动手。

　　先用吹气球吹去灰尘，个别吹不走的用镜头纸小心剔去，一定要小心，不要用力。取少许脱脂棉，沾镜头水，湿一点好，小心粘去仍在镜头上的灰尘、污渍。这个过程不可硬来，否则易损伤镜头。在确保表面无可见的灰尘颗粒后，可以大面积擦拭。

　　先准备较小的棉花球（用湿镜头纸也可）若干，压遍成饼状，大小以镜面三分之一为宜。再准备大棉花球若干，也压遍成饼状，大小以镜面三分之二至四分之三为宜，尽量不要让棉纤维暴露工作面上。用小棉花球沾镜头水，干一点好，由中心以螺旋状擦拭镜面，不要走回头路。然后，趁镜头水未干时，用大棉花球以同样方式轻擦镜面。若一次效果不满意，可以在来一次，但用过的棉花球就不要再用了。千万注意不要让镜头水直接接触镜头表面，一定要用镜头纸，否则可能会损伤镜头的镀膜或者镜头水沿镜片边缘渗入镜头内，造成镜片起雾，甚至脱胶。

　　如果没有镜头水怎么办？没关系，可以用朝镜头表面哈气来代替。但是得注意：哈气时不要厥着嘴，应该张大嘴巴，轻轻哈气，这样才不会喷出唾沫。我们只要在镜头表面产生一层薄雾就行了。如果镜头是由塑料镜片组成的，那最好还是不要用镜头水，也不要用酒精加乙醚的混合液来清洁镜头。一定要擦还是用哈气的办法。

　　但是我觉得，无论如何小心擦拭，对镜面镀膜总是有损害的，所以不到万不得已决不要擦拭镜头。相机是用的，不是拿来看的。

发帖人: 记忆烙印发帖时间: 2003-11-02 13:19
数码相机摄影技巧[转帖]

随着数码的不断普及，数码相机(DC)已不再是罕有的物体。而数字化的今天，对人们在原来的拍摄技艺的基础上又提出了新的要求，不少初级用户反映：数码相机拍摄出来的图片暗淡，欠缺活力、噪点多、景深浅（特别在微距模式下）、偏色等。但摄影本来就是心灵与光线沟通的桥梁，要掌握传统拍摄技艺并非易事。下面就让笔者为大家简述一下数码相机在拍摄中必需注意的问题，同时也讲述一些拍摄前后的事项。
1、浏览说明书

很多用户都不喜欢厚而繁琐的产品说明书，一般买数码相机购回后都喜欢自行摸索。当然，在摸索过程中会出现一些惊喜，但这会花费的不少时间，而且也不能以最短的时间系统了解你手中的产品的特性；如果看过说明说后再*作的话还可以避免一些错误*作。因此在初接触新品时，应简要先浏览一回厂家为大家用心汇编的说明书，熟悉一下数码相机的基本菜单与功能。以后再有所不明时也可以翻一翻它，会有所收获的。

2、合理选用图像格式

我们都很清楚，数码照片的质量与象素（分辨率）有关，象素越高图像质量就会越好。而经实际情况的推算，200 万象素的数码相机大约与 1200 dpi 的扫描仪拥有同等的数字影像撷取能力，而 600 万象素的数码相机则可视为与 2400 dpi 的扫瞄器同级。若只是使用一般的平台扫描仪进行相片数字化，那么数码相机只要 200 万～ 300 万象素就可轻易地胜过 35 mm 相机了。不过，如果输出 4"x6"，约 A6 大小，使用 200-300 万象素足可满足一般人的需求。而若只是用于电脑72 dpi的显示器，要求就更低了，分辨率为1024X768，才约为80万象素，任何一台二百万级别的DC都可以游刃有余。因为数码相机储存空间有限，因此我们要因地制宜，合理选用分辨率，如：只用于PC的，对于本人的SONY DSC-S75一般使用1280X960；如应用于印刷，一般采用1600X1200；拍生活照时当然用2048X1536。在要求不高的情况下，压缩标准也采用STANDARD，这可比FINE的压缩标准存多一半的图片呢！

3、构图与思考

对于摄影有一定了解的用户来说，都清楚明白准确构图的重要性。如：若不是拍摄特写，一般应把主体放在画面的1/3处，同时尽量避开杂乱的背景，从特别的视角来拍摄，尽量捕捉物体的细节与个性，利用一些斜线或曲线的背景构图会让整体画面看上去更为生动。

另外，我们要善于运用二维的眼光观察。因为摄影只有二维空间，它通过透视关系（即光和影的造型效果为参照物）来表现空间感，不同于从两个不同角度观察事物的三维人眼。不过，现时的数码相机绝大部份都有直观LCD取景屏，而且其视野率均在90%以上，有些接近100%，如S75就达99%。可以直截了当地观察到空间感和距离感是否足够，可做出及时的调整。不过一般的数码相机LCD的分辨率都比较低，清晰度一般不能令人满意，但笔都对S75还是挺满意的。可也不能迷信于它，因为在实际上使用中发现：在LCD中显示曝光轻微过度，在电脑的显示器中显示曝光量度刚好。这也是有部份用户总是拍出暗淡图片之因。

而且LCD耗电量也一直让"色友"们头痛，因此有不少"色友"在拍摄中还是习惯于使用光学取景器，就考虑到光学取景器的视野率只有80%-90%，而在拍摄近特写还要记得它可是旁轴的呀！当然，想拍出壮观的画面还得闭上一只眼睛，用两只手的拇指和食指搭一个"镜框"，把眼前的景象想象成一幅印在书里或挂在墙上的画……

总之，相机是拍摄的结束，之前的过程才是关键。

4、不要迷信DC的自动模式

首先，和传统相机另一个最大的差别是DC有一个白平衡。这有点类似于传统摄影中的色温，也正是由于初学者没有重视这白平衡，所以才会生产偏色。DC一般都提供有自动、室内、室外、手动四种模式，初学者都信赖AUTO，可往往拍出的图片偏了某一颜色，只要我们细心注意LCD取景窗是可以看出的。当我们刚拍摄到某一实物，该实物一般偏重某一颜色，假如蓝色，这时DC的白平衡会自动偏向于蓝色，再拍摄其它实物时自然也是会偏色的了。这点虽然在LCD中会体现出来，但初学者一般都没发觉。同时，有些模式也不尽完善，如：SONY的DC在室内模式下都有"蓝色综合症"现状，因此我们还是尽可能使用手动白平衡为好。而且，还要密切留意LCD的色彩变化，一发现该白色的不是白色，就得重新对白色的实物取光修正白平衡。另外，有些数码相机也具备了自动包围式白平衡的功能，以便记录准确的色彩信息。

其次，光圈、快门的控制。建议若有手动的也应使用手动模式，因为自动模式下通常拍出来的图片暗淡，特别是窗内，噪点也多。因为在室内拍摄时，DC一般会自动提升ISO值，如：SONY DSC-F505V在室内一般达282左右，而感光度与影像质量成反比关系，即选用的等效感光度越高，影像质量越差。这和传统感光材料的特性类似，只是在数码相机上这种特性表现更为明显。因为传统摄影中，我们通过选择不同的感光度胶卷或者通过"提速增感"来改变拍摄时的感光度，但是数码相机就不能这样做，它只能通过提高CCD的灵敏度以及电路的增益来提高CCD的反应速度，即牺牲滤波性能和分辨率指标为代价，这样做就会产生一个信号噪声的问题，并最终在画面上留下痕迹，这一点和传统的高感度胶卷的粗颗粒十分类似。所以在用数码相机拍摄时，若想获得好的成像质量应尽可能地选择低的等效感光度，或直接固定在最小值。

再次，DC都有微距模式，而且数码相机的广角一般较大，达F2.0左右。在自动模式下，相机的程序也倾向于使用较大的光圈以缩短快门时间，防止震动。但摄影常识告诉我们，照相机镜头的收缩一般从最大光圈收缩两级左右拍摄的照片效果最好。尤其是在微距模式下，如：SONY DSC-S75在拍一些手机按键时，只有中间部份清晰细腻，周边的都带轻微的模糊。因此，我们最好使用光圈先决或全手动模式，使用较小的光圈以扩大景深。如果相机没有光圈优先功能，可以试着尽量提高环境亮度，让相机自动选择较小的光圈或者使用闪光灯，图像质量也能有所改善。

5、正确用光、与光线对话

光是摄影的灵魂。因此我们要留心光线的变化，不仅是光的强度，还有光的方向，用心与光线对话。如：落日把晚霞染成红色，象征着浪漫；阴暗的天空呈现出灰色的冷色调，象征着忧郁；树荫中撤下一束阳光，透射出欢乐、愉悦的情绪……。

分辨光的强度

硬调光通常是由单一光源发出的，比如：太阳、聚光灯、闪光灯或单只灯泡。在这种照明下，被摄体反差较大，细节和质地被突出。你可以运用这种光线获得纪实效果。

与此相反，漫射光线产生的光质较软。室内间接的照明，户外的树阴和阴天时都属于这种情况。在这种光线条件下拍摄肖像和静谧的户外风景都是再理想不过的了。

讲究用光角度

用光的角度不同，被摄体的质感会相应地被强化或削弱，被摄体的形状就会被突出或被淡化。照片的基调是愉快的还是忧郁的，也会因用光的角度不同而有所不同。从相机上方或后方（通常称之为正面光）投射过来的光线会降低被摄体的层次感，原因是正面光不利于营造高光和阴影。较好的选择是让光源偏于一侧，同被摄体成大约45°角的侧光，就可以很好地表现被摄体的形状和细节。
当光线从被摄体身后射来，正对着相机时就会产生逆光。拍摄对象在逆光中显得富于戏剧性。在拍摄肖像时，逆光在人物的头发边际产生漂亮的轮廓光。反差大的逆光可以产生剪影的效果。

数码相机摄影技巧

在传统摄影中，一个不容忽视的也不容易掌握的色温问题，在数码相机中已不复存在，因为数码相机可以通过白平衡来调整解决，而无需考虑光源色温与底片的关系了。这又是数码相机的一大优点。

而数码相机比起传统感光材料，尤其是新的染料型感光材料，数码相机在曝光宽容度指标上并无优势，所以拍摄时的准确曝光仍是数码相机获得良好影像质量的基本原则。在实际使用中，我们发现数码相机对光线的要求更高，在室内拍摄尤为重要。因此我们在室内拍摄时若不可外另照明时，就应尽量使用闪光灯。

6、几个误区

习惯使用UV滤镜

对于传统的摄影师，UV镜是必备之一。但由于DC光灵敏度区间向长光波端偏移，就是说对红光及红外光敏感而对蓝紫光（尤其是紫外光）并不敏感。所以在数码相机上加用UV镜将得不到所期望的有利效果，而光学性能不好的UV镜还会对成像产生负面影响。所以就，UV就不必了。

三脚架已是昨日黄花

别以为除了专业的摄影师或那些狂热的摄影爱好者，三脚架对于数码相机没有武之地。因为要拍摄清晰的图像，拍照时必须绝对握稳照相机，即使最轻微的抖动都会造成模糊不清的图像，而且对于这种结果我们往往束手无策，无法通过后期制作来消除这种影响。
　
当然，用普通胶卷相机也存在这个问题，但是由于数码相机的光灵敏度低，并需要一系列的电路处理、存在快门延时的毛病，如：S75的快门延时近0.1S，比用快速胶卷的胶卷相机需要更长的曝光时间，在光线较弱时，更是如此。为了稳住相机，拍摄时应尽量夹紧胳膊肘，并应放置到人的最稳定部位--额头上，并轻轻地按下快门。但最好的办法是将相机装在一个三脚架上，或者将它放在一张桌子、柜台或其它不会移动的物体上。特别是在拍摄特写或微距摄影时，使用三脚架会得到更好的拍摄效果。

漠视后期处理

用数码相机拍摄的数字图像，只有极少数看上去是完美的，事实上，用普通的胶卷相机拍摄也是如此。当然，数字图像的优势就在于可以进行后期加工，但有人会认为这已失去"保真"的真实含义了。其实它仍是在摄影创作的基础上，经创意构思，运用各种数码技术手段，将摄影素材优化或组合，从而化平淡为神奇的重新创作的艺术作品。

只要适当利用图像编辑工具，诸如：PHOTOSHOP等等，你就可以让那些并不出众的照片变得颇具水准。你可以使曝光不足的图像加亮、校正色彩均衡，剪裁掉分散注意力的背景，覆盖住一些小的缺陷（比如反射光造成的热点），甚至将几张照片或图像进行合成（见图）。能够进行照片编辑是用数码相机拍摄的主要优点之一。

7、知识在运用中体现价值--运用在于实践

不一定是"工多艺熟"，但要想"艺熟"就必需要"工多"，数字摄影也不例外。所以，尽可能在不同的光线条件下多拍一些照片。拍摄时，注意记录拍摄时所用的相机设置和光线条件，然后研究结果，看看哪种条件下哪种设置最佳。专业摄影师在拍照时对同一图像总要拍摄好几次，每次改变一下拍摄角度或曝光时间等设置，我们也应该这么做。大多数的数码相机都有LCD显示屏，你可以利用它轻松地观察并删除你不喜欢的图像，所以不必担心会因"滥拍"而造成存储量不足，尽管放心地去拍摄多种曝光的图像吧，这样，最终至少会有一张好照片。

发帖人: 记忆烙印发帖时间: 2003-11-02 13:20
数码相机闪光灯的使用方法（xaghost）

目前，几乎所有的数码相机都可以使用电子闪光灯。闪光灯，顾名思义，就是可以发出闪光的灯啦！和普通的灯相比，电子闪光灯具有一些特别的地方，比如发光强度大，能够提供足够的亮度；发光持续时间短（在我们的感觉中，闪光总是一闪而过，实际上闪光灯每次闪亮的时间通常只有几百或几千分之一秒）；色温约为5500K左右，与标准日光的色温差不多；发光的性质为冷光等等。这些特点使得闪光灯成为我们拍摄时不可缺少的工具之一。

　　闪光灯的种类很多，而且有多种分类方法。从它与相机的关系来看，可以分为内置式和独立式。内置式闪光灯与相机结合在一起，不能卸下来使用。有的内置式闪光灯可以藏起来，使用时再弹出，有些则固定在某个部位。不管哪一种，效果都差不多。内置式闪光灯的好处是轻巧方便，随处可用，缺点是功率不够，而且无法调整闪光角度，使得应用的范围和效果都有限。独立式闪光灯则是独立于相机的，使用时利用各种方式与相机连接，控制同步，连接方式包括控制线、无线电波、直接插入相机的热靴等等。因为独立于相机，所以独立式闪光灯功能强大、种类繁多，适合各种场合和效果，但使用相对麻烦，携带不便。对于普通数码相机来说，内置式电子闪光灯是标准配置，有少数的数码相机提供了外接独立式闪光灯的接口，但需要自行购买独立式闪光灯。

　　什么时候才有必要使用闪光灯？这是一个很关键的问题。事实上，闪光灯只是相机中用来进行补光的小工具，而不要误认为它是一个主要的光源。所以，在光线不错的情况下进行顺光或者侧光拍摄，不用使用闪光灯。另外，在我们拍摄夜景的时候，如果想使画面信息完整，应该使用长时间曝光或者配合慢速同步闪光灯来使用，而不能单靠闪光灯来拍摄，那样的结果就是，画面中的主题无层次的表露，而其他的要素则被忽略了。下面我们来看看具体的调节过程和要领。

　　使用闪光灯时常常碰到“同步”这个概念，所谓同步，就是指相机快门完全开启时，闪光灯闪亮，使整个画面得到均匀的光线。由于闪光时间极短，如果相机快门没有完全开启，就有可能使部分画面或全部画面曝光不足，这就是“不同步”了。对于普通的相机来说，能否同步通常取决于快门速度，一般都有一个上限，超过这个上限的快门速度将无法与闪光灯同步，而低于这个上限的快门速度则可以同步。这个上限根据不同的相机和快门结构而不同，通常较高的为1/250秒。

　　闪光灯的主要作用有：

　　1.弥补光线不足

　　闪光灯主要是用于在光线不足的情况下照亮场景，以便获得正确曝光的影像。多数的数码相机有自动闪光选项，当现场光线不足时，闪光灯会自动闪光。

　　2.凝固动态

　　我们使用闪光灯，很多时候并不是因为光线不足以正确曝光，而是为了提高快门速度，以达到凝固动态影像的目的。例如要拍摄水滴或活动中的人像，如果按普通的测光值进行曝光，影像就会虚化，不够清晰，而使用闪光灯就能把这些影像凝固下来。

　　3.增加景深

　　我们知道，影像的景深效果是和光圈大小密切相关的，通常光圈大，景深就小；而光圈小，景深就大。利用这个原理，实际上可以利用闪光灯来增加景深。有时，因为现场光线的限制，我们不得不采用大光圈来拍摄，但却使得景深不够，而当采用闪光灯的时候，我们可以缩小光圈拍摄，有效地增加景深。

　　4.突出前景

　　很多时候，我们会发现拍摄场景中，背景的效果不理想或干脆就不是我们想要的，这时我们可以尝试利用闪光来排除背景。因为闪光拍摄时，快门速度较高，闪光投射范围以外的背景会因曝光不足而无法表现，而前景由于闪光照射正确曝光，这样就可以突出前景，排除背景干扰。

　　5.补光

　　闪光灯另一个最常见的用法是补光。拍摄的时候，场景中光线反差过大的情况是很常见的（例如逆光下的人像），因为CCD或胶片能够表现的亮度范围有限，所以在反差过大的场景中，不管针对亮部曝光还是针对暗部曝光，都会造成部分影像细节的丢失。这种情况，最好的做法是，针对暗部进行适当的补光，以减少画面反差（当然对亮部减光也是可以的）。闪光灯在这种情况下就是最有力的武器之一了。具体的做法很简单，打开闪光灯，让它在拍摄时照亮暗部就可以了，效果通常都是不错的。

　　室内拍摄时，光线常常不够充足，使用闪光灯是理所当然的，但使用闪光灯拍摄人像的最大问题是很容易产生讨厌的红眼现象，这种现象是因为闪光在眼睛视网膜上的反射而造成的。绝大多数的相机都有防红眼功能，即正式闪光拍摄前利用一系列短促闪烁的强光迫使人眼的瞳孔收缩，以减轻闪光在眼睛视网膜上的反射。不过，这种办法常常并不十分奏效，补救的办法是改变拍摄的角度，尽可能使人物的眼睛不要正对着镜头，或者利用反射闪光。

　　由于闪光灯的光线很强，因此，如果正面照射的话，人物就可能会显得不自然，同时也可能会在人物的背后造成难看的强烈阴影。如果无法采用反射式闪光的话，我们应该注意被摄者的背景，尽量避免让被摄者过于靠近浅色的墙壁而留下阴影，也应该与被摄者保持一定距离，以免闪光过强，使被摄者曝光过度。

　　在许多情况（如聚会、表演等）下，使用闪光灯会破坏原有的光线，使现场的气氛无法体现出来，此时应该尽量避免使用闪光灯，而应该采用提高感光度的办法来保证正确曝光，许多新式的数码相机可以调节ISO值。

　　闪光灯的另一个问题是范围有限，因此拍摄夜景人像时，常常导致人物光线充足而背景一片漆黑的情况，这时可以利用慢速同步快门的功能来解决这个问题。因为采用慢速同步快门时，快门的速度比较慢（闪光过后快门依然开启以对较暗的背景曝光），所以应注意让被拍者在闪光过后依然保持不动一会儿，否则可能会导致影像模糊。

发帖人: 记忆烙印发帖时间: 2003-11-02 13:20
二手相机买卖秘笈

假如你是新手，想买又便宜又好用的相机，那么你去买“二手”。假如你是老手，想更新换代器材，即想买也想卖，那么你也得去找“二手”。看来“二手”你是躲也躲不掉，藏也藏不了了。其实以上只是戏言，但二手相机确实越来越引起发烧友的重视。君不见市场上二手器材店越来越多，二手器材越卖越火，这可是不争事实。也许你已经是二手店的常客，对这个行业很熟悉，也许你刚刚接触相机，说不定哪一天也会迈进二手店的大门，同店方正经谈起买与卖。那么先让我教你几招。

首先谈二手相机的“买取”

二手相机店不同于其它相机行业，首先经营这个行业的都是一些对相机比较精通的人，甚至也可能摄影圈内的、专业素质及文化素质都比较高的“名人”。而买二手器材也大多是熟悉器材，精通摄影的圈内人士。所以在二手市场上经常看到一些摄影圈内名人，交流的是一种“摄影语言”。抛开商业目的买与卖，往往会越扯越远，虽最终不一定能达成交易，但往往是会成为朋友。这就是二手相机的魅力。除了买与卖，交易与交流也是一种文化。所以顾客喜欢的是热情、懂行、认真、负责的二手店家；而店家喜欢的是懂行、诚肯、谦虚、善解人意的顾客。以上两个方面可以看出，两者有许多相同之处，而又有明显中的不同。顾客买二手器材一则怕不保底、上当；二则怕花冤枉钱、当大头。而店家最怕外行，说什么也不信，讲什么也不通。所以店家常讲：二手相机既愿卖用家；更愿意卖行家。

那么怎样买二手相机呢？笔者根据几年买二手和卖二手的经验，总结出以下几点内容：一．尽量做个行家。这就要求顾客在要买什么之前，应先弄清楚。好在现在各种资料非常丰富。先定好位，再请教一些明白人（这是难题，许多“明白人”在二手器材中恰恰是不明白的）。这样大致心中有数，再去二手店比较价格和成色。（这又是一个难题，往往成色好的价高，而成色差的价低，笔者倾向于可多花一些也买好的）。这里要告诉大家的是千万不要说出“这相机有什么毛病吗？已经用了几年了，照了多少胶卷。”此话一出，店家便知你是个外行。可能不大会再搭理你了。

二．尽量诚肯。即便你是个器材行家，也要尽量虚心一些。千万不要摆出一付什么都懂，出口成师之态。因为前面已经说了，店家大都是行家，他们往往喜欢平等的同你探讨，而不喜欢被动的接受询问。特别不喜欢大大咧咧的顾客，盲目的挑这挑那，特别是说出不在行的。引起店家的反感。

三．关于讨价还价。这是一个涉及到双方利益的事，也是个需要处理得“艺术” 一些的事。关于店家的报价可能各店会有所不同，而经营方式更不相同，一些店（大多是比较大的，有影响的），往往报价较实，上下浮动不大。而一些小店可能会大一些。所以在讲价时要认清形势，适可而止。否则压得太低，店家会认为你没诚意，造成双方“话不投机”。

四．挑选器材。这里只想说应注意的问题（具体怎样挑选二手器材另写文章介绍）。在没有交款、开票之前，器材是店家的，顾客在挑选时要小心对待，有些店对器材是很爱惜的，试机时要戴上手套，另外在试闪光灯、快门时最好得到店家的允许（这点千万切记）。万不可大大咧咧随意按下快门，拍个不停。要知道，这可是二手相机，一旦出了问题，弄不好要惹麻烦的。

五．信用保证。这可是最重要的，千万不要忽视。国外二手店保用期三至六个月不等，而国内这个概念很含糊，但一般一个星期左右。即在一个星期之内器材有问题可以退换。这不是死的，有些店是可以探讨、双方协商的，所以尽量时间长一些，而且要有信用卡作保，一旦出现问题有凭为证也好解决。

六．该出手时就同手。经常会有这样的情况，前几天看中了一台机器，等带钱去买时，已经出手了。后悔不迭，“犹豫”有两种原因，一是买与不买下不了决心；另一是店家不肯让价，以为等几天店家会屈服，结果错失良机。要知道这可是二手相机，有些品种是几年一遇，甚至是几十年一遇，（特别是一些收藏机），可遇而不可求。

下面说说二手相机的“卖出”。

既然要买相机，肯定有一天也会卖相机。如果在影友、亲友、朋友之间解决是最好的。这样可卖个好价钱，减少最低的损失。但你如果在周围找一圈也推销不出去，那就只好找二手店了。在进二手店之前，你可要有精神准备，店家开出的价可能会使你大跌眼睛。“怎么我花二千多元买的东西，只照了几个卷，连一千多元都不值呀！”接下来你会骂店家“心太黑、太黑！”不能否认店家有趁火打劫的思想，但也要知道二手店实在是不同于新相机店的行业。这里的顾客基本都是更新换代的，买器材也是越来越接近专业成份，而卖者许多是初哥级使用的入门机，虽然购买时也花了不少银子。而在二手店里，这类器材很少有人问津，其价格也就可想而知了。所以你手里想卖的如果是初哥级的相机，千万不要到二手店去，否则会“宰”得你心脏病复发。经常听店家说：“我店里的东西便宜吧，可你卖东西却不肯便宜。我拿什么东西卖给别人呀。”此话听着也有道理，只有进货便宜，才能卖出便宜：只有卖出便宜，二手店才有生命力。但也并不是所有的东西都便宜，也有价格较实的。如一些专业器材，特别是尼康、佳能等名牌，即使变成二手的，也是价格不菲的。如尼康FM2。

所以在卖二手器材时，也是有讲究的。一是首先认清手里器材的实际价值。这一点很重要。正确估价自己的器材，才能找准方向，怎么卖。所以在卖之前先到二手店转转，看看同类器材是怎么标价的。如有可能同店主探讨一番。大至心里有了数。再想卖与不卖或卖给谁、怎样卖也就清楚了。

二要想少损失,尽量寄卖。现在各二手店都有此项业务（店家也愿意，不占资金）。一般由卖方自己定价，如成交，店方收6％－8％不等手续费，出手后过了保用期，便可拿到现款了。当然前提是你不等钱用。幸运的可能头天摆上柜台，第二天便被人买走；不走运的，也有年把不出手的。这里要注意的是价格，虽为自己定，但也不要离谱（指二手行价），否则有价无市，也没有意义。

三急等用钱，不卖不行的，就要现实一点了。唯一能做的就是四处比较一下价格。然后选择报价高的，要知道如果你的东西好（指店家好卖），店家会“抢”，不会轻易放过。这就需要你要有足够的准备，把握好最佳的价格。如果店家都“不理”，这时也就知趣“忍痛割爱”吧。

四交换器材。这是个十分复杂的问题。你看重了店家的东西，又不想掏钱，想用手里的东西换，这样，双方的价格空间也就大了。店家标价往往在明处，而你手里的器材价格需由双方核定，伸缩性较大。一些店家在此便有了文章可作——使劲地压低你的器材价格（这个问题很普遍，也是店家最得意的赚钱方法），一定要有所警觉。最好的办法是：先将要换的器材四处打听一下，这样心理有了底。在讨价还价时也就有了底气。

以上是笔者的一点想法，但大千世界无奇不有。无论买与卖，不管是顾客还是店家，也都有“好坏”之分。交易中也难免有吃亏与占便宜，关键是买的可心，卖的知足。而双方又都是摄影圈子里的人，抛开单纯的买卖金钱关系，共同提高学识，增进友谊，才是二手相机文化的最高境界。

发帖人: 记忆烙印发帖时间: 2003-11-02 13:21
数码摄影的几个基本点

1.传统摄影知识
虽说数码摄影的感觉与传统的胶片摄影大有不同，但要肯定的是，本质上是一回事，理论共通，形式各异。许多玩数码摄影的朋友并不是从传统摄影的阵线转变过来的，可以这样说：不是因为摄影而选择数码，而是接触了数码而喜欢上摄影，所以，不可避免的，对于传统摄影的理论基础比较薄弱，许多概念模糊不清，似懂非懂，整体摄影水平比不上胶片派的色友。表面上看起来，数码派的色友站在科技最尖端，摄影最前列，其实下盘功夫不稳，经不起胶片派的下三路猛攻，也对自己在摄影中出现问题的本质原因困惑不解。所以，数码派应苦练内功，利用数码机经济、易拍、直观等优点，边拍摄边思考，结合理论知识，掌握基础摄影理论和技巧，治疗先天性贫血。

2.数码后期制作技术
这个后期制作的重要性大家都明白，无需多说了。正如许多传统摄影大师不一定是暗房大师一样，许多数码色友对后期制作的认知，也只停留在图片下载、浏览、存盘，最多来个裁减什么的，比起传统暗房，数码后期制作的各方面优势简直可以算是一间图像制造工厂！只需电脑一台，即可变化无穷，应有尽有！如果广大色友放弃这个梦幻工场，那真是无尽的损失。深入数码后期制作，也需一定的图像处理知识，具备相当的图像处理基础，限于专业知识的不足，色友们知难而退，不愿深究的心情也是可以理解，唯一克服困难、掌握技术的办法，还是实践结合理论，学习学习再学习，发扬数码派的先天优势，以数码的优势攻胶片的不足，使数码派的优势不仅仅停留在表面，而把它扩展到更深的层次，来迎接摄影艺术的革命浪潮！

3.自身审美素质及专注精神的培养
摄影首先是一门艺术，与其他艺术形态的不同之处在于，它必须借助于科技的手段来实现，跟社会的进步和科技的发展息息相关、紧密结合，不管实现的方法是借助以化学方式（银盐胶片）或是物理方式（CCD感光技术），最后的结果必须是符合人们的审美观点的，否则不能称其为艺术作品，我们不能要求观赏者的审美观与自己的一致，只能让自己的作品符合大众的口味，对比其他如绘画作品创作过程的艰辛，摄影相对就轻松了许多，弹指间就可表达出自己对大千世界的感受，但我们也看到，许多作品也并不是妙手偶得，隐藏在美景背后的，是无数的心血和等待，和对艺术日积月累的沉淀，毕竟一个小小的取景框中看到的内容和无所遮拦的双眼所看到的大有区别，和脑海中期待出现的景象更有不同，再好的技巧不等于优秀的作品，纵观坛子的作品，还是有许多不尽人意之处，其中固然有客观原因的限制，不可否认有许多是本可避免的自身原因造成的。这方面也是要多下功夫才行。

发帖人: 记忆烙印发帖时间: 2003-11-02 13:22
DC保养大集成（仙雨蛇）

1、温度变化。尤其是从相对低温->高温。比如冬天从室外到室内，夏天进出山洞，镜头很容易结雾水。解决方法一，在温度转换前用塑料袋包裹，待温度变化并相机也随之自然变温后取出。方法二，快拍，事先调整好各种参数，拿出即拍，拍完就收。越快越好。

2、极限温度下。两种情况：

极度高温，在这种情况下dc的毛病会很多，如ccd会过热，镜头的机械部件会流油，常温下半固态的润滑油会变成像水一样稀，等到它流出的时候轻则污染镜头，重则这些机构罢工。解决方法a、当然是——————不拍！（啊啊，不要打我呀！）b、参照上面方法二。

极度低温。虽然润滑油也有冻住的可能，但我的经验是电器故障是主要的。特别是使用碱性电池的用家，零下环境碱性电池几乎不放电。锂电用家不要高兴的太早，每年的哈尔滨冰灯节上趴下的锂电也是不计其数的。解决方法还是参照上面2条。

还有什么风沙啦，潮湿啦都一样解决，就是把相机放身上安全的地方，拍摄时取出，拍完就收好越快越好，多快就看你的技术啦。
贮藏：

最好是买去湿“贵”（柜），特点大家也看明白了特点就是贵！一个1k以上，不过你用的是DSLR就买它吧，柜子一般附带湿度表，效果是最好的。

其次就是买以前学校里实验室里的干燥缸，效果也是一流的，使用寿命最长（当然被砸除外）。缺点就是放家里占地方还巨难看。

再次是塑料干燥箱，没什么好说的，一份价钱一份货，效果也不错，低端选择。
还有有朋友用自封塑料袋装也是不错的，就是寿命短了。一个也没几分钱，坏了就换一个。我妹妹的dc就想进我的干燥柜，被我用自封袋打发了。

干燥材料，可以到单位的实验室搞一瓶变色硅胶，蓝色的就可以用，变红了放微波炉里中火一转就兰了。生石灰效果最好，就是不能重复使用。

还有一个经济的选择就是晒过的旧报纸，也是吸湿的。如果使用玻璃干燥缸，还有一个好的选择就是使用浓硫酸，吸湿性能绝对一流，而且非常耐用。
清洁

镜头的清洁很重要，一般常用的方法就是吹气，当然不是用嘴啦，要用吹气球，不用太高级的，试剂商店卖的红色的那种就足够，几块钱一个，我自己也用这个。不过你钱多买300一个的德国货我不反对^_^

正确的使用姿势是，除拇指外4个手指托住一边，拇指在另一边，尽量快速的摆动拇指捏动，捏动的时候你会发现出气空孔在不停的摆动，让这种摆动尽量靠近镜头，让气流最高速的时候“扫”过镜头表面。

擦拭

镜头之于相机就像人的眼睛。现在的镜头都是多层镀膜，能不擦还是不要擦，污渍如果不重不会影像多少成像。记住每次擦镜都是对你的镀膜一次不可挽回的损伤。

首先是伤害最小的镜头刷，不过一定要买最好的，国产的会掉毛，不推荐。

当镜头的污渍用上述2个方法没有办法去处的时候，就需要使用如下方法：

1、制作棉签。取牙签或类似小木条，用干净的脱脂棉，缠紧，松紧程度以不掉毛为度。

2、观察污渍的严重程度，如果不是很深，哈气后擦拭。

3、如果很严重，用分析纯的酒精和分析纯的乙醚以3：1混合后做擦拭液，用棉签蘸取少许擦拭。

以上方法对镜头的损伤是：擦拭液>>哈气看清了擦拭液的伤害是远远大于哈气请谨慎。

手法，看准污渍的方位，左手持稳相机，右手小指勾住镜头边缘，拇指、食指、中指捏住棉签（效仿执毛笔手法）在（并仅在）污渍部位做啄木鸟式运动，具体*作由擦拭者手法熟练程度而异。

注意不要轻易信任任何所谓进口“镜头水”，我有不少朋友的镜头就是毁在这个莫名其妙的镜头水下的。其实我见过的真正有效的口“镜头水”也就和我上述差不多的配方。这个配方是我跟某收藏高手学的。

另以偏方2条，据说效果不错，我没有试过，妄听之：

1、用口水蘸拭，原因是：口水中含有水和溶菌酶:)

2、擦拭前先喝半斤高度白酒，然后哈气后擦拭。^_^效果就看你的酒量了。

但是至少上面偏方比用什么麂皮、镜头纸。镜头水要好的多。

麂皮个人觉得没有什么用，建议用你的手来擦，真的，任何的皮毛的质地都不如人类活体皮肤好（当然有老茧出外）！用碱性肥皂洗净的手总比麂皮好的多。（不过要剪掉指甲先！）这个方法我是用来擦塑料的LCD的。

大家注意：

重要补充！！！！！！在使用上述擦拭液时，请先准备一块干净的干棉布（棉花），棉签蘸取擦拭液后请在干棉布上吸掉多余液体。

发帖人: 记忆烙印发帖时间: 2003-11-02 13:24
有感——漫漫器材发烧路（海阳）
一片老文章，转过来……

原本题目是叫《漫漫摄影发烧路》，可想到几年来虽痴迷于摄影，但每天魂思梦绕的除了机身就是镜头，片子拍了不少，可是以砖墙和报纸居多（为了检验镜头的表现和机身的对焦/曝光精度）。在器材上的投入和所谓“作品”的产出极不成比例，所以一提到“摄影”二字就汗颜不止，干脆改到了现在这个题目。

这几年在这条路上摸爬滚打过来，又看到周围无数的影友也在重复着和我一样的道路，未免还会碰到我原来的烦恼和痛苦。所以斗胆将我和我熟知的影友的发烧历程总结出来。希望要上路的影友能得到些借鉴。您如果已经是“过来人”了，而且文中所述和您的经历类似，请会心一笑，表明咱们产生了“共鸣”。

另外要说明的非常重要的一点是，这里所说的影友或发烧友指的是和我一样的广大业余爱好者。咱们共同的特点是：第一，完全是自费发烧（花钱买罪受？）；第二，经济并不十分宽裕。判断依据是您最近时常想念的机身或镜头的售价是您月收入的二至二十四倍。而且倍数越大，说明您发烧的度数越高。正是这两个特点，注定了我们广大的影友发的发烧路无比的曲折。如果您用的是公家的顶级器材，或者觉着开始就买“顶级”机身加一套专业镜头并不是很大负担的话，本篇文章肯定就不适用于您了。

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一、上路之前

大多数人在正式发烧之前都有一定的拍照经验，或用过给家庭留影的“傻瓜”相机，或使用过家里的老式相机，或着借用过朋友的单反相机，甚至你本来就拥有一架带标准镜头的单反相机，但是从来没有想过后来会如此的痴迷。驱动你踏上这条路的动力是多种多样的，或看到了一次摄影展，或看到一本摄影画册，或仅仅看到了朋友拍到的一张风景，你好象一下就被感染了，就象得了流感一样。你开始想我是否也能“制造出”这样的相片。碰巧你刚丛一个旅游胜地归来。看着自己用“傻瓜”相机拍的惨不忍睹的照片，你暗下决心，一定要好好钻研一下“摄影”。

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二、单反相机，一定要单反相机才能搞“创作”

大凡关于摄影的指南都是这么说的。只用过135“傻瓜”相机的你觉着以前拍的照片不行的原因归结于没有135单反机。买单反机之前你要经过一番考察。这“考察”使你慢慢推开了相机世界的大门，各种品牌型号林林总总，你肯定会感慨于这个世界的博大和你囊中的羞涩。经过了一番痛苦的抉择，你终于下定决心，把你能承受的最贵的一台国产或进口的带标准镜头或标准变焦镜头的或手动对焦/曝光或自动对焦/曝光的单反相机请了回家（***本文尽量没有提到相机的品牌，但“品牌”有可能是在以后使你苦恼的重要因素之一***）。你在不知不觉之中以把双脚踏上了这条发烧“不归路”。

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三、要配齐所有焦距段，最起码是28mm到200mm

在你用你新买的单反机拍了几卷胶卷以后，发现要出“作品”远不是有单反机就行那么简单。回过头来看名家的作品，好象用的镜头要么是比你镜头广的广角镜头，要么是比你镜头焦距长的的长焦镜头。你恍然大误，原来如此。这是你发烧历程中又一次飞跃（发烧温度的攀升）---你开始关注镜头了，虽然你现在看到的只是镜头的焦距这一项。你开始挖空心思要“凑”齐所有“常用”的焦距段。不幸的是当你在开始买相机时并没有考虑到这一点，所以刚刚“放完血”的你更加苦恼于资金的不足。可配齐广角，中焦，长焦的迫切愿望是那么的强烈以至使你盯上了“便宜”的小口径变焦头。这些变焦头使你用有限的资金完成你的计划。你甚至为找到了这些大变焦比的镜头感到洋洋得意。

果然，你在镜头上的投资没有白费，你的照片开始有别于你周围朋友拍的留念照了。虽然这可能仅仅是由于你镜头广角端给人的视觉冲击或长焦端较浅的景深给你的照片带来的“与众不同”的感觉。你周围人对你的“作品”的认同和夸赞无疑又给你增添了继续前进的动力。

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四、备用机身，要用专业的标准要求自己。

再添一个机身的想法此时又滋生出来了。你说服自己的冠冕堂皇的理由是：

1、频繁更换镜头太麻烦；

2、可同时使用不同的胶卷；

3、有一个备用的机身以防万一。

你试图用这三个理由说服自己但又不愿意深究这三个理由是否成立。因为你心底深处真正的想法是要买一个更好的机身（时下叫机身升级）。可能在你买第一个机身时怎么也想不到会烧到现在这个程度或者当时确实财政吃紧，总之，你认为只有再买一个更高级的机身才能配齐你的“摄影系统”，而如果只有当前这一个机身的话肯定会妨碍你出“作品”。

经过长时间的紧衣缩食，你终于又实现了你的这个愿望。有着两个机身的你终于有了点“专业”的自我感觉，特别是跟影友们一起去“采风”的时候。可是新鲜感一过，你才发现：

1、同时带两个机身要远远比换镜头麻烦；

2、你两个机身很少装不同的胶卷；

3、好象只有胸前两个机身偶尔互相碰撞会让你感到心疼以外从来不用担心机身会有什么故障。

慢慢地，你又开始只用一个机身了，当然是更高级的那个。原先的机身在摄影包的底层找到了自己的归宿。

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五、镜头除了焦距以外，还有最大光圈等重要参数。

你原本以为在器材上的投资已经结束了，可不幸的是这只是你花钱高潮的序曲。

随着你摄影水平的提高你开始有一些片子要放大一下。原本在五寸、七寸照片上看着很清楚的风景、人物，放大到十二寸左右就难以满足你越来越挑剔的眼光了。你现在也知道了“镜头素质”是怎么回事，越来越注意自己拍的片子色彩还原好不好、有没有暗角、逆光时眩光严不严重......你总是拿着五倍后来又换成十倍的放大镜看底片。你开始意识到刚开始买镜头时只考虑焦距范围可能是最不成熟的行为。虽然你的片子不清晰很有可能仅仅是因为手震或聚焦不实；你的片子色彩还原不好是因为扩片小姐刚跟男朋友分手心情太差，但你还是越来越不满足你那些“低素质”的变焦镜头了。

这次你确实比原来成熟了，学会了在买镜头之前先找齐所有的资料，反复对比各项参数。还是由于资金的原因，你不得不考虑性能价格比。虽然开始你仍然觉着没有必要买恒定光圈大口径的变焦镜头去追求那大一至两级的光圈，但以拥有很多镜头资料的你后来慢慢发现恒定光圈大口径的的“专业”变焦镜头和那些“业余”镜头的差别不仅仅是大一至两级的光圈，而是镜头光学素质（最起码是在镜头的数据上的）和机械做工的不可比性。这一点在镜头的重量和价格上充分体现了出来。换句话说你觉着现在只有这种镜头才能满足你用十倍放大镜看底片这么高级别的需要。

“要买恒定光圈大口径专业变焦镜头”的想法刚冒出来的时候着实下了你一跳，因为这将意味者你要用两倍以上于你化在机身上的资金投入去买镜头！这远远超出了你最初机身和镜头投入比例保持1：1的心理底线。况且这钱不是一下能赚的来的......

然而你现在“中毒”已经太深，你开始每天晚上睡觉都梦到那一两只镜头。经常在陪家人逛街的时候跑到摄影器材商店，“爬在柜台上痴痴地看货架上的'梦中情人’直到口水流出来”（一位坛友哼哼牛？的妙语）。你终于无法承受这一番痛苦折磨，痛下决心，砸锅卖铁也要买下这镜头。你首先想到的是把你原来的镜头出手。可到了二手器材店你才知道你悉心爱护下的足有九五成新的镜头店主最多能给你五成的价钱。你终于明白了“鸡肋”的确切含义。由于你太需要钱了，虽然你心里痛骂着“奸商”但还是把镜头留给了他......

当你终于把“梦中情人”拿到手上以后自然是无比的欣喜，虽然欣喜中带有一丝心痛。试拍报纸和砖墙的结果表明这“高素质”的镜头果然不负众望，这使你心理得到了极大的安慰。可在以后的实拍中你越来越发现在80%到90%的条件下这贵了几倍的镜头和你原来的“低素质”镜头并没有明显的差别。毕竟平时拍摄风景而且光照好时小光圈用的多，聚焦不实的时候用什么镜头都不清楚，扩片小姐的心情仍然起伏不定......特别是当你扛着“梦中情人”翻过一个山坡累的气喘吁吁时，你甚至开始怀念起你原来那套已属于别人的轻便的镜头来了。

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六、定焦镜头，你真的需要了！虽然主要是在心理上。

毕竟你在家看镜头资料和摄影杂志的时间要远远多于你扛镜头满山跑的时间多，而在家时你又忘却了镜头沉重给你带来的不便。不知从什么时候起你在看镜头数据资料和各种测评数据时下意识地转变了立场：你总是不自觉地想寻求你拥有镜头的缺点和不足。就象你爱一个人，她/他在你心目中太完美了，你害怕她/他会有一点点的瑕疵会影响到其在你心目中神圣的形象所以对她/他的缺点有一种神经质的敏感。

果然，一篇镜头测评的文章把你彻底击垮了：“（此镜头）......拥有近乎完美的光学素质，特别是在......，然而比起定焦镜头来还是有一定的差距......一般严肃的摄影师是不会接受这种为寻求便利而做出的在作品质量上的妥协......”。

你原来一直以为（特别是经过各种形式的广告的引导）变焦镜头是技术进步的结果，而且其素质已经赶超了原来的定焦镜头。孰不知现在所有镜头厂家设计镜头时用的还是数十年前甚至上百年前的光学公式，而变焦镜头由于其镜片组数多虽几经努力还不能做到象定焦镜头那样好。

再对比一下定焦镜头的价格，就算买几只镜头也要低于你那支大光圈的变焦镜头。你现在脑子里完全充斥着你的镜头这个可能是唯一的但现在是你最介意的缺点。你越想越觉得你好象又犯了个错误。

定焦镜头，你真的需要了。虽然主要是在心理上......

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七、中（画）幅，一个新的梦想的开始

中幅相机一般指的是120相机。在“国产经典双（镜头）反（光）相机”网站（ http://www.ChinaTLR.com )的首页有这样一段话：

“你可能已拥有了一整套相当不错的135相机，这是你花了很长时间建立的系统，因为你买每个镜头前都要考察一番。你又买了坚实的脚架和云台。你使用遮光罩，快门线，反光镜锁。。。以保证象质。你对你放大照片的结果非常满意。这时该发生的事情终于发生了--你看到一张放大到nXn （n>24) 寸的一张作品，你知道你没戏了。 It's big, it's sharp, it's beautiful - 这就是中幅！ -- 摘译自 photo.net，原作者Doug Hughes”

虽然你一年也没有几张要放大到24寸以上的照片，但这段话对发烧至此的你极具煽动性。你原来只知道120相机只有专业人员和影楼才会用，现在你终于明白了为什么他们会用120相机。虽然120相机系统单比镜头的分辩率等参数赶不上135相机的镜头，但其占据大底的优势。就连国字号的摄影杂志也发表了（在放大到一定尺寸以上时）国产的双反120相机比世界上最顶级的德国某牌号135相机怎么怎么样的言论。

虽然由于120相机的产量小，不具备135相机的规模效益但你还是可以有多种选择。从一二百块的旧国产双反，到动辄上十万的欧洲顶级，你都可以量力而行，做出适合你的选择。而他们之间的差别从“象质”角度讲要小于120和135两种系统之间的差别。

可当你真的投资买了中幅相机以后，你会发现比起135相机来讲120相机太麻烦了，还要负担比135高的多的胶卷和冲扩费用。这就是为“追求象质”而付出的代价。

然而对“追求象质”是无止境的，比120底片还要大的多的是4X5, 比4X5底片大的多的是8X10......这什么时候算到个头啊？

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八、你又需要一个“傻瓜”相机了！但你现在管它叫旁轴相机。

虽然这条路上的每一步都伴随着痛苦，但走到现在你才理解什么是真正的痛苦：拥有这么多摄影器材的你每天还要为生计忙碌，每天上班下班，好容易赶个节假日还要打理家务，串亲访友。能出门旅游的机会一年也没几次，即使能出门了又很少是专为拍片。除了测试镜头外光剩空按快门了。真有英雄无用武之地的感觉。

终于你受一些大师的启发，找到了一个解决办法：何不抓拍你周围的人和事呢？只要出家门都能拍，没准哪天能赶上个“决定性的瞬间”。好多大师不都是这么起家的吗？

说干就干！你打量了你那些摄影器材，大摄影包是不能带的；硕大的变焦头更不能带。看来只能用轻便的小广角或标头了......

不幸的是你这种“创作”的状态没坚持几天就夭折了，因为领导和同事每天都用异样的眼神看着你包里的这套单反机。虽然你只用了你最小体积的镜头，但你的领导和同事还是具有“单反相机就是专业相机”的认识水平的。不用开口你就能从眼神里看出他们心理的疑惑“莫非这小子有跳槽的想法......？”

更让你觉得沮丧的是当你在上班途中好不容易碰到个“闪光点”，你的单反机总是引起被摄者的注意。落到底片上的大多是别人对你镜头怒目而视的脸。

你终于明白为什么大师们都用旁轴相机了。

符合你条件的旁轴相机并不难找。可先如今大部分旁轴相机都是程序曝光的。你想要的有光圈优先曝光的旁轴机大都价格不菲，随然现在的程序曝光功能的机子是从只有光圈优先曝光功能的机子进化来的。

无奈，你只有选择一台程序快门，有电动卷片，装有定焦或变焦镜头的旁轴相机。虽然别人还是称之为“傻瓜机”，但你管它叫有自动功能的“旁轴相机”......

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九、没有列出的但使你猛掏银子的还有：

三角架，你可能买到第三个才知道前两个的钱完全是应该省下的。黑白放大机，到时候你就会受人煽动，试图控制“摄影”的全过程。幻灯机，反转片......

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十、你现在可以算过来人了，但这条路是没有尽头的

静下心来想一想，算一算，你在摄影器材上的花费可能是你们家除了住房以外最大的花费了。虽然你在尽量克制你的预算，可结果还会或多或少影响到了你家人的生活。你或许应该反省一下自从你有了这爱好以后，对家人的关爱是否少了许多？或许你现在仍然无怨无悔，那祝愿你能更加理智些，认清器材对摄影的作用，一步一个脚印地走下去。

你可能要对于正要上路的或没有陷的太深的影友建议别买变焦头焦一步就照3个定焦计划，Xitek也大声疾呼“便宜买死人”，可他们没人能听的进去，就象当初的你一样。可能这发烧发的就是这个过程。

是谁说来着：“让一个男人破产的最简单的办法是，给他一架相机。”

发帖人: 记忆烙印发帖时间: 2003-11-02 13:25
必看!玩数码相机的必经之路! （御风飞扬）

1 羡慕看到朋友，同学，同事没事拿着个DC拍来拍去，还有网上许多高手拍的PLPP，好是羡慕，心里想要是我也有DC，或许能比这些高手拍的更好

2 搜索到处看杂志，网上看资料，论坛问高手，究竟哪个适合自己,关键是钱的问题：（

3 购入最好带个高手去，试机，看看有没有坏点，买的时候的兴奋心情易于言表

4 初期新买的东西总是舍不得放下的，看见东西就拍，据说一网友新买的DC一个月拍了10000张，:)

5 吵架这时候PP拍的不怎么样，火气倒不小，到论坛里看别人说你自己的DC如何不好，如何有问题，接着就是大吵特吵。。。。好象个卫道士:0

6 学习过了一段时间（长短因人而异），当初的兴奋劲也过去了不少，快门也按的少了，开始认真看看别人是如何拍出好照片的,开始买各类摄影杂志，教学书籍（比如摄影之友，封面都是人体艺术，每次买好书上楼都被楼下的老头老太投来异样的目光；还有几乎所有人都推荐的经典的摄影教材纽约摄影学院摄影教材，虽然价格不菲，上下册，1XX CNY，但是买的人还是络绎不绝），这时候的耐心是最好的，拍静物，拍人像，拍风景，反正能够拍的，一定会去拍的，这时候拍照片最好加入自己的思想，这样比较容易得到别人的认可和斑竹的加钻：）。。。。

7 不满又过了一段时间，自己的水平也长进的一定水平了，你会发现你的DC远远不能满足你的需求，比如快门滞时，暗处对焦。。。。等等

8 换机这时候二手区是你的最爱，你对DC也有一定的了解了，总想卖掉自己手中不称手的DC，换个高端点的来玩玩,脑子一门心思都是这个：）

9 失望当你花了很多心力，攒了很多钱，换了个较为高档的DC，在使用了一段时间后，忽然觉得这款DC也不过而而，花这么多钱真不值得，难道非要上单反，这时候你有两个选择选FC或选DSLR，

10 选择这时候专业摄影网站是你发烧的必经之路，网站上高手太多了，他们会指导买什么，不过通常都是七嘴八舌，结果很可能还是要你靠坚强的意志来决定买什么，因为FC和DSLR实在是太难选了，：）我都想要哦。。。

11 岔路不管买DSLR还是FC，起初都会经历一个过渡期，拍出来的照片甚至不如你花3000块买来的DC，不过之后是发烧一条不归路。。。或许你还会开始烧120，烧定焦头:)这时候就是有钱没钱的问题了，

12 觉悟不管这条不归路走到底还是没走到底，迟早有一天你会觉悟，照相机不过是玩物，除非你有专业用途，这时你会发现你家里有了N台机身，N个镜头，电子干燥箱，高档闪光灯，捷信三脚架，杜马克摄影包，连镜头笔和吹气球都价值不菲，你会很后悔自己以前的所作所为，真不知道自己以前哪来那么多钱买相机:)接着又是一个岔路，卖了器材，四大皆空，归依我佛，或者就是一路走下去...究竟哪条路是你最终的选择，我就不得而知了......

发帖人: 记忆烙印发帖时间: 2003-11-02 13:26
景深控制的几点技巧
（jinglingliming）
1、获取大景深的方法

A换用焦距更短的镜头，使用广角端拍摄。由于一般消费级数码相机广角端焦距很小，在使用广角端时很容易获得大景深的效果；

B缩小光圈，尽可能使用相机上的最小光圈，额外说一句，光圈的数值愈大，光圈愈小，如8.0的光圈小于3.5的光圈；

C增大摄距，远离拍摄主体。

2、获取浅景深的方法

A换用焦距更长的镜头，使用长焦端拍摄；

B使用最大光圈；

C缩短摄距，靠近拍摄主体；

获取浅景深对数码相机用户来说可能是最令人烦恼的问题，这里就多说几句。一般情况下在不影响构图效果的前提下，采用“最大光圈＋尽可能缩短的摄距＋长焦距镜头”能获取最小景深的效果。对于早期生产的消费级数码相机来说，使用相机本体来实现小景深是很困难的，原因在于那时的相机镜头焦距较短。即便如此，在多数的微距拍摄中还是可以获得不错的浅景深效果，这是与摄距较小密切相关的。但是在人像摄影中，尤其是全身入镜的情况下，由于摄距过大，仍然难以得到特别好的浅景深效果。此时具备长焦镜头的高变焦相机就比较适合使用。

发帖人: 记忆烙印发帖时间: 2003-11-02 13:27
AF不是万能药（飞鸟凉）

如果你想找个鼓吹自动调焦相机的站点，那恐怕你来错了地方，你应该到众多的相机制造商销售商的站点上逛逛，那里更适合你。随便翻开一本摄影杂志也行，那儿也不缺吹捧AF优点的广告。这里我打算另辟思路来找找AF的毛病。这些东西你不可能在广告里看到，厂家赞助的职业摄影师也不会告诉你。

假如AF真的那么棒，为什么还是有很多职业用户使用手动相机呢？我打算引用些数据先把你吓一跳再说：

AF会浪费镜头分辨能力，多达50%！

来源：《大众摄影》1995年10月号

胶卷
AF
MF
AF损失

BW ISO100：
f2.8：
46lp/mm
80lp/mm
43%

f5.6：
58lp/mm
02lp/mm
43%

Kodachorome 25：
f2.8：
51lp/mm
79lp/mm
35%

f5.6：
72lp/mm
88lp/mm
18%

ISO50彩色反转：
f2.8：
46lp/mm
71lp/mm
35%

f5.6：
52lp/mm
71lp/mm
27%

ISO 100彩负：
f2.8：
46lp/mm
102lp/mm
55%

f5.6：
64lp/mm
102lp/mm
37%

这次测试所用的镜头是Nikkor 60mm f/2.8微距，以1:12的放大率拍摄分辨率标板。选用Nikon的原因是你可以把同一支AF镜头装在AF和MF机身上。在手动调焦时使用了一个外接的2X放大镜，因为测试者的双眼已经服役了60多年，颇有老化现象。如何？这个结果让你吃惊了吧？一双老眼加上一双粗手如何能打败现代精密电子技术？也许这只是一次杂志的测试而已，我们来听听AF相机的制造者怎么说：

工程师说：50lp/mm已接近任何AF SLR自动调焦能力的上限！

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AF相机固有的缺点

当你用眼睛调焦时，这是一个模拟的连续的调焦系统。当AF相机调焦时，它使用一个CCD或CMOS光传感器芯片。一些低档AF设计只使用了很少几个传感器，因此只有很少的离散的调焦点。高档的AF设计用了128个或更多的传感器，因此调焦点更多，步长更小，精度也更高。在1995年，典型的AF相机用传感芯片密度大约是每毫米27个传感器；1999年该密度被提高到了每毫米50个。很不幸，此项改进并不能带来显著的好处，因为为了照顾到AF的速度，AF算法必须做出妥协。软件要“猜测”正确的调焦点，但它也会猜错，风中摇动的树叶就是个例子。另外还有几个制约AF性能的因素：传感器排列的方向是一定的；传感芯片的大小有限；AF算法具有不可重复性。

--------------------------------------------------------------------------------

为什么不能关掉AF以达到MF的性能？

我本人在MF的Nikon机身上使用AF-D Nikkor镜头，我向你保证这些AF镜头的质量（不会比对应的MF镜头低），但是你可别指望在AF机身上手动调焦也能得到同样的质量……

不错，当有人反对自动曝光的时候，另外一些人会告诉他关掉AE；当有人反对自动调焦的时候，自然也有人叫他关掉AF。有些用户声称他们在80%以上的场合在AF机身上用手动调焦。但这回就不同了--关键之处在于，AF机身的设计跟MF机身是不同的。AF传感芯片需要光线，于是到达调焦屏的光被分了出去，大约会比MF机身损失1挡左右的光，为了弥补这一点，AF机身通常使用更明亮的调焦屏。但是这些超亮的调焦屏更多是用来观景而不是调焦（调焦任务是打算指派给CPU完成的），因此它们跟MF机身所用的调焦屏完全不同。或者这么说，AF机身和MF机身的设计目的不同，决定了AF机身上的MF性能不可能达到MF机身的高度。

--------------------------------------------------------------------------------

那么能否依赖AF机身的准焦指示呢？

答案显然是否定的。（译注：原文又给了一个表格来说明，但依赖准焦指示在AF机身上MF的精度跟AF是相当的，因此略去。此表格的数据跟先前的结果也是相当的。准焦指示的“宽容度”太大，某些情况下导致超过38%的错误。结果表明，EOS1N的准焦指示似乎比F5更准确一些）

一个用户的反映：“我同时使用Canon的EOS和FD两套系统，我做了一些实验，当我用手动系统时，总是能在TMAX 100胶片上得到100lp/mm的成绩；但自动系统的成绩时好时坏，我只能指望50lp/mm的结果--在AF时，我只能利用到镜头分辨力的一半。”

--------------------------------------------------------------------------------

看看吧！这些AF带来的好东西

1、如果被动AF已经很好了，为什么还要用主动红外AF呢？因为被动AF在光强不够对比不够的场合很难工作。但主动红外AF的限制更多：红外测距跟镜头配合不好，因此都不是TTL的；工作距离有限，因为受输出功率和测量精度的限制；它也难以用做连续追踪AF的手段。现在市场上的主动AF大多用于傻瓜机。

2、黑暗之中，AF好还是眼睛好？大多数人都能在-3EV下调焦，而大多数AF相机（使用f/1.4的镜头）声称能在-1EV下调焦。但大多数人用的镜头没那么快，因此大多数场合下只能在+2EV或+3EV以上才能AF，这比起我们的眼睛要落后5到6级光量，他们需要的光是人眼的32至64倍！相关问题还有对比。AF需要画面有足够的对比，并且高对比线条最好能匹配传感器的排列方向，这样才能干好活。把一个低对比的物体放到黑暗中去，AF肯定完蛋，而此时恰恰是你最需要AF的时候。

3、AF变焦镜头 vs. 定焦。不用多说，变焦镜头的性能不如定焦，看看photodo的测试就知道（注意：我并不是MTF的坚定鼓吹者）。但他们的数据都是直接拿镜头放在专门设备上测的，并没有跟对应的AF机身一起！变焦镜相对较小的光圈会导致AF精度下降，因此，AF时代的变焦镜比定焦镜的实际性能差别比你想象的要大！

4、T和F。F代表光圈，T表示有效透光量。前者是基于物理尺寸的度量，后者则考虑了实际的光线损失。定焦镜头通常有较少的镜片，因此T值和F值相差经常在10%以内，可以忽略。但十几片镜片的变焦镜就不能忽略这些损失的光线了，它们的T和F经常差1/2甚至2/3档！一个f/2.8的专业级变焦镜头实际上可能是T/3.4甚至T/3.5。

5、包围对焦。如果AF很棒的话，为什么有的厂商搞了个“包围对焦”的东东出来？当你在玩浅景深的时候，传统的“对准目标--AF--保持--构图--按快门”戏法往往不灵光；AF检测点的分布也不够多，这时候聪明的厂商就搞出这个“包围对焦”来。想想看，花三张底片来得到准确的焦点，非常值得，是吧？

6、花费。AF机身往往要比MF机身贵。原因之一当然是AF系统使用的电路马达要花钱；原因之二是因为自从有了AF之后，消费市场被引进了AF大比拼时代，厂商不得不经常改进技术推出新产品，高昂的研究费用自然得消费者承担。但很多时候，他们只是稍微改一点点东西，就鼓吹说新机器如何如何棒--其实机身的制造工具没变、镜头没变，制造成本不会增加什么。

7、缺少反光板锁定。感谢AF技术，我们拍照片越来越快，因此反光板锁定这样的东西变成了累赘，至少Nikon认为只有专业中的专业摄影师才用得着。F100都不提供，这着实伤了不少人的心。

8、与三脚架作对。在三脚架上使用AF功能有些痛苦，也许你已经习惯了扭来扭去，但我们应该活得更轻松的。云台和脖子的磨损也应该更少才对。

9、不能换对焦屏。绝大多数AF机身都不能换对焦屏。网格屏拍建筑好用，毛玻璃屏用长镜头和微距好用，现在你享受不到这些好处了。对了，你知道吗？长镜头的像场比较短的镜头更平，而普通对焦屏都是为中短焦镜头优化设计的。长镜头最好使用专门设计的对焦屏，它把焦点前移约1/80毫米，结果得到额外5lp/mm的分辨率

2009-03-18T08:58:00.000-07:00

1-GRE Verbal Section Overview

2009-03-18T08:47:00.001-07:00

GRE的笔考verbal分为四个部分，共38题,时间为30分钟。其中1至7题为填空，8至16题为类比，17至27题为阅读（长文7道题，短文4道题），28至38题为反义。

时间分配参考：填空5--7分钟；类比2--3分钟；阅读12--18分钟(长文8-12分钟,短文4-6分钟,阅读最好在15分钟内完成)；反义1--2分钟；共计20--30分钟。在实战情况下，可以减少阅读的时间，再多给填空1--2分钟。

GRE的verbal究竟考什么？一定的词汇量+一定的阅读能力。一定的词汇量应对类反，方便阅读和填空，而一定的阅读能力则是应对填空和阅读的根本。

1．句子填空题(Sentence Completion)

通常出现在词汇部分(Verbal Section)的最前面，一共七题。句子填空考的是对英文句子整体性的了解。考生不但要懂得串联上下文和辨识文法结构，还要具备丰富的词汇量，填空的精髓：寻找重复。首先扫读全句，如能理解句义，则直接寻找选项。不能清楚理解句义，则运用技巧，填空其实就是考词语的对应关系，找到句子当中的上下句关系决定选同义词或反义词。

2．类比题（Analogy)

根据题目中两个大写单词之间的关系判断选项中那一组单词之间的关系最接近。分析关系时可以从功用型、因果型、反义型、同义型、程度强弱型、部分与整体型、大小型、人与所做事型、人与工具型等方面寻求关系。

3．阅读理解 (Reading Comprehension)

阅读理解目的是要快速准确地回答出所有的问题。为此，需要有效的应试手段和巧妙的应试方法。

先易后难。每组试题的两篇文章一长一短，应选择自己较熟悉的题材的那篇文章先做。应该指出，长的文章不一定难。

快速阅读一遍文章，特别注意每一段的第一句和最后一句话。其目的在于了解文章的结构，熟悉有关材料在文章中的位置，并对简单的问题有初步答案。

再次，快速阅读问题。但这次的目的是，先读一个问题后随即在文章找出有关材料所在，核对材料内容是否切题。如果在文章没有找到有关问题的材料的位置，则应暂时放下这一问题，立即开始下一个问题。千万注意不可在一个难题上花费过多的时间。应该首先争取把全部问题答完，最后如果还有时间，再返回来仔细斟酌。

4．反义词(Antonyms)

反义词试题每次都出现在GRE普通考试中词汇部分(Verbal Section)的最后一节，也就是第28题至第38题(共11题)。反义字部分至多只允许两分钟解决，每一题只能用20秒。反义字考的不只是词汇能力，还要考理解相反观念的能力。这种能力不是一蹴可成的，必须长期广泛的阅读，背生词。考试时可以利用词根、词缀来了解一个字的意义。

无忌泡菜谈Minolta X-700

2009-03-18T08:26:00.000-07:00

(2009-01-29 11:01:56)

随着AF的应用，相信坛子里的烧友很少用手动的Minolta X-700了，渐渐地卷入了NCMP的大战。在这里我想把无忌泡菜曾经谈过的X-700的话题综合起来，便于大家交流，不为别的，就因为他的性价比非常适合于工薪及学生使用，但它决不是一款低档机。而且它的功能并不见得少，质量也可靠。有说错之处，请指正。

如果你是一个非常喜欢手动聚焦，并想全程控制曝光的低收入爱好者，我建议你用X-700。或者你是一个低收入的严肃摄影爱好者，建议你用X-700。因为 X-700能满足你的要求。首先，价格在1700~1850元间的低价位一般都能接受，当年该机与Nikon FM2一同进入中国时，其价格大约1500元左右，还曾有一段时间价格超过FM2。毕竟它不是金属机身，也不是纵走钛合金快门，也没有1/250秒的闪光同步，落到今天的地步。但它的确是一款名机，曾有许多名家认为它是一款够得上专业的专业机。X-700的黑色外观棱角分明，有一种坚固感，美中不足是它的外壳是非金属的，让人有几分不放心。它的体积也不大，重量只有505克，右边的小把手小巧不滑，单手握持舒适稳当。该机的主要功能有手动曝光(MF)、光圈先决(A)、程序自动(P)、TTL闪光、B门等。

(一) 手动曝光

使用该挡可全程控制光圈、快门，但它的最快速度只有1/1000秒，与现在的相机比显得不够快，甚至还赶不上凤凰303的1/2000秒。实际上，在平时1 /1000、1/2000秒的快门都很少遇到。一来，X-700的用家用28-70/3.5-4.5或70-210/4.5-5.6的变焦较多，即使使用 f/1.4-f/2的大光圈的镜头，1/1000秒的速度也勉强够用。二来，普通用家一般选择的胶卷为100/200，1/1000秒也能对付。个人认为，本着够用的原则，不必去追求平时很少用的功能。另外，如果你有独立的测光表，想按照独立测光表的曝光值曝光，就得用MF。使用大型闪光灯、或M级、 MF级、EP级闪光灯泡时也得用MF。我还利用闪光灯连线连接另外一个闪光灯配合机顶的TTL灯搞简易的布光，效果也很满意。它的快门是横走的，闪光同步也只有1/60秒。取景窗内可还是很明亮的可看到曝光方式、快门速度、光圈大小、曝光补偿。它的快门声音及震动并不很大，因为没用过其它机，所以不敢乱加评论。

(二) 自动曝光包括光圈先决和P方式

它的这两个功能很特别。在它的说明书中没有说明其工作的原理，只提到MD镜头用于P、A、M方式。MC镜头用于A、M方式，不能用于P方式。Rokkor镜头不能用于P方式。其实，根据我的实用，在这两种方试下，它是几乎不挑镜头的(Rokkor没用过)。

关于这方面的实用性，无忌泡菜海韵是有见解的。请看他的报告：

由于美能达X-700具有收缩光圈测光功能，所以任何与MD口镜头机械尺寸相同的镜头，不论它是否测有测光拨杆，都可以用X-700的自动档。这是X- 700的一个“隐藏”功能，连它自己的说明书中都没有提到，X-700可以收缩光圈测光，在自动档曝光时，测光结果只是一个参考值，当快门开启、光收缩到位后，还有一次很准确的测光(不要小看从轻按快门测光到曝光这一很短的时间，光线照样可能发生变化)，对轻按快门时的测光值进行修正，并以这个修正值曝光。利用X-700收缩光圈曝光这一功能，可以使用根本没有测光拨杆的老式镜头，照样可以得到准的曝光。这正是X-700的伟大之处。

其原因与测光顺序有关：第一次测光只是提供参考，X-700这一类相机都是全开光圈测光，当你设定光圈值(譬如f/8)，光圈调节环会移动一段距离，这时有一个拨杆也移动了一段距离，在测光结果上会有反应(增加几档曝光)，显然这种机械式的结构“告诉”测光元件的结果会有误差，因为它是一种间接结果。在使用 X-700的自动档时，快门开启、光圈收缩到位时，测光元件会测量到达胶片的光线强度，此时的测光结果是直接而不是间接的，很准确，这个测光结果控制快门的关闭。

我曾做过试验，用老式珠江、海鸥标头进行自动曝光，由于是全开光圈(F2)测光，所以快门很高(譬如1/500)，此时把光圈收到小(譬如16)，由于没有测光拨杆，无法“告诉”机身，测光显示依然是1/500，但按下快门，曝光却是1/8，凭耳朵都能听出来差别。这个实验是10多年前做的。

尽管珠江镜头根本不带测光拨杆，但由于X700的收缩光圈测光，在使用自动档时(是光圈优先是程序档记不清了)，可以正常曝光。由于我当时使用的这台公家的相机，配有标头和70-210/4镜头，在实用中用不着使用珠江镜头，所以我只是试验了几张，但肯定没有问题。MD镜头上有两个测光拨杆，一个是测光用的，实际上就是它“告诉”了机身内的测光系统目前镜头上的实际光圈值与该镜头的最大光圈值有几档差距(因为是全开光圈测光)，另一个是供程序曝光用的。收缩光圈测光现在相机上一般都已经没有了，但我用过的两台相机上还有：一是上面说的X-700，二是奥林巴斯OM-10。它们的共同点就是，在自动曝光时，当光圈收缩到位的那一瞬间的测光值，决定相机的快门，这个时间与全开光圈时的测光结果并不一样，但人们往往感受不到。

无忌泡菜老顽童认为：X-700确实具有实时测光，它确实有两套测光系统：一套在取景器中，一套在镜箱底部。试想：反光镜未上翻就可看到测光信息，这是取景器中测光元件起作用；TTL闪光是镜箱底部测光元件起作用。实际上美能达x-700那个拨杆传递的信息是很不准的，镜箱底部的测光元件在反光镜翻起一瞬间测光，并决定实际曝光时间。尤其是程序自动档，光圈收缩拨杆不可能精确控制光圈大小，只是给个大约光圈，然后实测一个曝光值决定快门时间。在这一瞬间成为光圈优先了！程序自动的本质是：给出一个大约的、不精确的光圈，光圈收缩后根据实际光圈实行光圈优先。X-300就没有这个优点。尤其是用快门线时，有时超过了16秒，已经自动断电了，突然按下快门线，X-300来不及测光，光圈就收缩了。结果在光圈收缩后测了一个较小的值，因而快门时间很长，造成过曝。

无忌泡菜180mmapo经验：美能达X-700具有一项非常实用的功能，即：Final Check也就是收缩光圈测光或曝光功能，该功能的原理是，在按快门后，光圈收缩到位，测光元件对收缩到位的光圈作最终光亮检查，然后确定最终的快门速度，当然这个功能仅在A和P档起作用，它有效的修正了光圈的误差和光圈由于机械故障无法收缩到位的问题。你可以非常方便用以下简单的试验确认该功能的实际效果，取下X-700的镜头，相机调至A档或P档，用手指将机身上的光圈联动环收缩至最小(若在P档，则还应将最小光圈定位拨杆也收缩到位)，对准某景物测光，假如读数为1/2s(最好是慢速度，以方便比较)，则说明，相机认为镜头的光圈在拍摄时会收缩到最小，而相应的速度将为1/2s，保持相机位置不变，将相机后盖打开，从底片处观察，当按下快门后，可以清晰的观察到曝光的瞬间，虽然我们无法也无必要知道确切的快门速度，但可以非常自信感受到快门速度绝对远远高于1/2s，有经验的话，是能够大致估算出实际的快门速度，至少是1/250s。这就足以说明Final Check在起作用。因为实际拍摄时光圈完全没有收缩，而相机在最后一刻发现了光圈联动环的欺骗行为，并根据实际的光线强度及时作了修正。

我是在怀疑一只Sigma 24/2.8镜头的光圈定位不准时，参考了一些资料得知X-700有此功能的，并通过该功能比较肯定地估计出来了该镜头的光圈收缩大约由0.5档的偏差。该项功能的作用还是比较吸引人的，比如说匹配俄头问题，以及部分镜头的光圈误差和机械问题而带来的收缩不到位等等，毕竟现在还在用X-700镜头的多数配备的是中低档镜头、二手早期镜头以及其它品牌的镜头。由此看来，X-700的这个隐藏的原理还是比较实用的。

利用这个原理给700配交换镜头就比较方便，如果配原厂的高素质镜头，比如大光圈或恒定光圈变焦头，现在不太好找，国内大多是二手头，但普及型的原厂头还是好找的，加上价廉物美的俄头，海鸥凤凰的MD口头等，满足一般摄影需要是足够了。

(三) 关于它的交换头

无忌泡菜老顽童有专门的介绍：Minolta手动镜头全集

(四) 关于X-700的专用闪光灯280PX

这款闪光灯可自由选择任意方式摄影，实现闪光灯发光后确认曝光是否准确的FDC功能，这大概是FM2没有的功能。另外Xitek还发现了另外的一种功能：

“Minolta Auto 280PX闪光灯(就是配X-700用的那款)装到Contax G2上，有如下现象：

1、将快门速度盘转到X挡，可以TTL闪光；

2、曝光模式设在A档，快门速度限制在1/60，可以TTL闪光；

3、设在高速快门速度，不能限制快门速度，但是可以TTL闪光。280PX终于有了新的用途，而且指数是28的，比Contax的专用灯还高。何况280PX灯应该还能找得到便宜的。G1和G2的脚是一样的，同Contax SLR一样，280PX有“Hi”和“Low”两档。好象二手的最多200吧！另外还有一种可能，用配X-700的银燕灯也可以的，不过俺还没有机会试验。”

X-700的TTL闪光原理

老顽童是这样说的：“美能达X系列的闪光同步速度(1/60)实际是由闪光灯控制的。LED的闪烁也是由闪光灯控制的。具体的说，就是多余的一个触点上电压的高低，控制LED的明灭，而低到一定程度，快门才关闭。过程是：闪光灯充上电，触点有了一定电压，并且高、低变化，引起1/60秒的LED闪烁。按下快门按钮，快门前帘打开，触发闪光灯发光。闪光灯发光后触点上电压消失，快门后帘关闭。这样就可以简单地形成一个闭环控制系统，保证闪光灯发光的全过程快门全开。利用这个方法，可以简单地改造闪光灯，实现后帘同步。”

在实际应用闪灯时，往往由于一时的疏忽而出现一些小故障，这都是安装闪灯时灯下的三个触点没有完全连接，结果是底片不曝光。

(五) 关于X-700的耐用性

部分网友说它的底部有一颗电容很易坏，导致死机。而且机号是28XXXXX或29XXXXX的具多。修理电容是不用开机顶的，开底部就可以了。

(六) 关于X-700能否多次曝光

不知从何时起，国内的发烧友开始对多次曝光这一少用的功能那么苛刻的追求。有相当一部分人因X-700缺少这一功能，而选择了其它。在我不多的阅片印象中 (先声明我看的好片不多)，采用多次曝光技法完成的摄影作品，称得上成功之作的只有陈长芬先生的一幅《日月》印象最深！我个人认为，底片的多次曝光在你的摄影生涯中实在是用的太少了，也就是说这一功能是非常不实用的。当然，X-700要实现多次曝光也并不难。请看泡菜SGY.的办法：

拍完一张后，按下倒片纽(在相机底部)，按住，然后走卷，动作要缓慢；过卷完毕后再将按倒片纽的手指送开。这时又可以按快门了。如此重复可实现多重曝光。拍完后，过卷到下一张，最好将下一张空掉，因为如果拍照，在底片上两张的边界可能会重叠。为避免此现象，隔一张再拍。(走卷到下一张时，倒片纽应该已经弹起)

注意的要点：

1、按住，过卷的时候动作要慢；

2、为确保底片不动，可在按下倒片钮前将暗盒中的胶卷上紧，然后再进行操做；

3、为确保成功，可多拍几次。

泡菜中灰板的报告：我试过，挺好使。步骤：先把回卷把手拧紧一些，按下回卷按钮，在同时按住这两个按钮(回卷把手和倒片钮)的时候，搬动过片把手上弦。练习几次，保证好使。

泡菜浪程的看法：我对这(多次曝光)没多大兴趣。多重曝光的作品，通常机遇十分难得，拍摄技术难度也大。例如拍摄夜景，通常是在天还没暗下来时曝光一次，再等天黑了，灯光亮时再曝光一次，整个过程耗时较长，也花费很多精力，因此更要保证相机的绝对可靠性。这种方法(X-700上实现多次曝光)是不可靠的，常导致拍摄失败。多重曝光照片往往是不让机会你再拍第二次的。玩摄影过于重器材不行，但器材做不到的事情硬要DIY也不可行。就象AF相机只能拍36张，有的朋友为省胶卷，便自行把胶卷头接长，但接得不好时，却有可能把高档的相机快门搞坏了。

(七) 关于X-700的版本

国内的大多数影友都认为X-700只有一个版本，其实X-700在80年前曾生产过不带AE锁的机型。

Alex谈道：“俺的机器上那个部位(自拍钮)只有一个向上的箭头，用英文标着：Self timer。没有向下的箭头和AEL标志。不知道其它大虾的机子有没有和俺一样的。看样子可能存在有第2个版本的可能性。如果是这样的话，可能俺的机器的却没有曝光锁。”

Scania007：“ 俺回去也看了美能达的catalogue，的确和俺的不一样。catalogue上是在自拍器的旁边镜头卡座的侧面上标有S.T.，AEL和上下箭头。但是俺的机子是在自拍器上红灯上方有一个白色的向下的箭头和SELFTIMER。所以俺猜不是俺的机器有故障，而确实是有版本的不同。”

从X-700繁多的专用附件就能看出，X-700够得上是一款专业相机。它的附件有：驱动马达、自动卷片器、无线电操纵器、机动把手、遥控线、以及8种可换的聚焦屏。但X-700的防尘性能做的不好，这可能是M家特有的通病，这一点FM2要比X-700强的多。

(八) 无忌泡菜的实用心得

中性灰：告诉各位一个关于美能达X-700的真实故事：我原来所在的探险旅行协会的领队，是一个不缺钱但从不浪费钱的人，他总是用最差的装备去爬最力所能及的山(最高记录是穿西裤爬上四姑娘山的二姑娘峰——5700米)。他一直用X-700，配适马MF28-70/2.8-4UC和美能达原厂那支全塑料70-210/4.5-5.6两支镜头。那台X-700和适马镜头(长镜头他用得极少，很少带出去)与他一起吃尽苦头，在去四姑娘山以前在贵州黔东南州农村里连人带相机掉进水田，中度进水。用塑料袋拎回家全部拆开，居然他自己修好了，只有聚焦屏上留下水痕。之后去四姑娘山他用这套照相机拍的3卷雪山风光的反转片被另一支队伍借走拿去做广告不愿退还。

因为修过就没有以前这么爱护，很大方的借给朋友，结果镜头前端先着地，适马镜头原配的遮光罩碎掉，变焦系统两个滑轮的轴断掉(相机没事)。他居然又一次修好！(好象请人做了两个零件) 他那台X-700最后没坏，是被偷走的。幸好长镜头没带出去，但剩下却是鸡肋，虽然他也喜欢FM2，买镜头还要花好多钱，不用说各位也知道，他又买了一台X-700。我自己的看法是：

1) 可能美能达X-700很好修；

2) 可能美能达X-700很难坏；

3) 可能他原来就是修相机的；

4) 可惜相机被偷，否则就是美能达公司的活广告呀；

5) 奇迹奇迹奇迹。

David：X- 700乃一代名机，很好用。当年好象和N的FM2一个价。手动机该有的功能大都具备，虽然硬指标比FM2差一些，功能可要强一些，再说其功能和指标已基本够用了。现在好些DX还在进FM2，你进X-700有何不可。上个月在一个摄影网站(记不清楚站名了)上看到一位四川色友在草原拍的片子，挺好的，他的注释里就有“M X-700+XX镜头”的字样。个人感觉AF在拍风景时用处不大，如想用下超焦距等，还是觉得手动更方便。何况“我的初衷不过是想从头体会相机的乐趣”，坚定走好自己的路，用心体验摄影的乐趣，用心摄取美好画面。

Fsliush：X- 700，用起来虽然比AF机麻烦了许多，但要知道摄影的乐趣往往在过程，而不纯粹仅是结果！X-700也曾是一代名机，我觉得还是挺好用的，光圈优先，程序快门，曝光补偿。。。。除了无多次曝光，要手动对焦过片，应该说该有的功能都有了，若遇拍摄婚礼等场面不方便对焦完全可用超焦距和24/2.8广角实现快速拍摄。镜头方面建议你再花300元买个尤比杰尔85f2加MD口接环用来拍人像，简直一级棒！朋友，别灰心，用心去走自已的路！用心去用好自己的机! 祝你多出好片！

Bobelon：小生本分是玩电脑的，但是一直对摄影很感兴趣。(可能是因为小时侯我老爸喜欢玩相机的缘故，当然那时只有120的海鸥)但因为工作的缘故一直没有机会拥有自己的相机，上个月终于我想通了，狠心花了2000刀银子引进了一台X-700，于是我的悲剧上演了！好象现在学照相很流行AF，外观漂亮，按快门时镜头伸伸缩缩，拉风的不得了！我的MD看起来不仅土里吧唧的，硬指标还很低，而且照一张相得捣鼓半天(新手！)我的MM和“懂摄影”的朋友简直是对我嗤之以鼻！而且听说花了2K银子。。。。。—%·#*—……/我不说大家也知道后果了吧！其实我的初衷不过是想从头体会相机的乐趣，能不能象某些人说的一定要拍2、300个卷后出个什么成绩也无所谓，就算想有所提高，难道我的X-700加28-70头就象一些网站上说的淘汰货一无是处了吗？我就不信亚当斯30年代就用的是外星货？！希望美能达的DX们多指教！

Sj366：X- 700伴着我已许多年，早就想换AF了，但意味一笔不小的投资，而下不了决心，很羡慕N和P的卡口，如果真有MD转M AF的转接环，那就好了。三年前，我的X700不慎从一米高处掉到水泥地上，机顶着地，五棱镜盖都裂了，把测光给摔傻了，测光显示和A档都过度二，三档，但M档还能继续使用，送去修理，说是测光的电路坏了，换了个，也不知是真是假，反正是没再有其他问题了。至于什么电容的问题，还没碰到X-700的手感还是不错的，可惜没有多重曝光，感觉较耗电，时刻备着两节钮扣电池。美能达MD卡口镜头，市面上大概全新的只有28-70/3.5-4.8，70-210 /4.5-5.6，75-300/4-5.6三种了，但香港还能买到全新的135/2.8，35-70/3.5头，上个月托人买了个135/2.8头 1250港币，蛮不错的，上期摄影之友说35-70才720港币，据说此头与Leica有点关系，那我也得搞个试试。28/2.8，35-70 /3.5，135/2.8，70-210/4(二手)+X-700机身应是个不错的配置，不会太贵，但现在还有谁会把这些钱投到X-700上呢？X- 700到底老了，玩玩备用还可以，但买个全新的似乎就不值了。

Rrf100：X- 700已用了多年，总的来说，对他非常满意，尽管现已升级到F100，但对他仍念念不忘，时常拿出来摆弄一番，从未想过将他下岗！哎！！！，如果M不换卡口的话，我现在应该在用807si或9，X-700没有一项多余的功能，完全够用，设计合理，操作方便！FM10我不想多说，用两个字概括——勒涩！！！我不知道国产X-700如何，但可去店里看看，至于马达店里要2000多刀，且很难觅到，建议还是二手市场寻觅一台。至于M口的寿命应该到头了，M抛弃它的MD口时，预示着它的寿命也就到头了，不过有几个头加机子也够你用十几年了。手动机永不会过时。当然，X-700也有快门震动较大的问题。但我用了这么多年也没问题，不愧为一代名机。理光就不提了。FM2除了金属块，耐造以外，操作性不如X-700。且4000刀，广州产，杀人哦！FM2的快门震动还是挺小的。我也想有N口的X-700。唉！没钱有什么法子？你定夺吧！我觉得这个价位也就它最合适了。性价比还是不错的。它的28-70/3.5-5.6有的地方才卖800多，成象不错，我买时1400多。看样子MD口是到头了。

冬狨：在过去MD系列有过非常捧的镜头群，成像优异，结构紧密。现在的MD真是不争气，只余下28-70/3.5-4.8和70-210/4.5-5.6两枚配套镜头，日薄西山。机身很难再装上优质的变焦镜头和定焦镜头，而余下的镜头又不能再用到更高性能的机身上去！你说X-700系统有前途吗？

老蚕：首先声明，我是菜鸟，用的是EOS。今天被抓差去拍会议，别人塞过来一台M X-700(得罪了)，以前用手动的比较少，那个不方便，不习惯哟！总结几大缺点：不能AF，错过不少镜头；手动卷片慢--太慢了，换卷慢。。。(以上可不是针对M的)真不知手动怎么还有那么多人崇拜？所以坚决拥护：AF，多点对焦，自动卷片/回卷，不说了！

见血不封喉：X- 700当然是好机器了，只是有一个毛病，好像机身号是29××××开头儿的机器用个两三年快门儿爱发点儿小脾气，到专修店换个电容就行了。我的X-700 在恩格贝沙漠工作正常，回到北京就趴窝了，当时以为是进了沙子，到了专修店一看，说得换电路板了……该机功能绝对实用。至于镜头，原厂的MD口的不太多，但是副厂的镜头应该选择余地比较大呀。想起一乐事儿，当年订《中国摄影》，记得卷首语(好像是某名家写的)说：“要玩摄影就选尼康，当年一位影友就因为钱少选了X-700现在后悔了”云云。后来《中国摄影》做了一期微距专题，整整近10个篇幅的微距图片……一看“X-700"拍的！

快门锁：X-700让人越看越喜欢，和FM2放在一块儿一比，太便宜了！都让人爱不释手！

谈纸：X- 700着实不错，曾获欧洲相机大奖，好像美能达相机只要跟7沾边的，获奖率就高。遗憾的是本人偏爱自动聚焦，X-700被晾在一边十多年了。要说配镜头，还是去淘MD的老头才过瘾。据说，MD70-210/4与leica有扯不明的关系，3年前在二手店里见到过，标价2000左右，觉得有点贵，待听到了她与Leica有可能是表亲的时候，只有桃花笑东风了。

球头：M 的自动头是不能用在X-700上，MD口可选的有：1、M的MD原产头，不过全新的品种已经不多了，二手的MD，MC还有不少。2、副厂的MD卡口手动头，如司马，图例，腾龙等。3。海鸥，凤凰的MD头。一个小秘密：M的MD70-210/4与Leica的70-210/4其实是一样的。另外：M的MD 28-85/3.5-4.5也是好东东。

海韵：X- 700没有得过“欧洲相机大奖”。从1982年起，欧洲7家摄影杂志在一起联合评选他们心目中的最佳相机，这只是他们7家杂志自行举办的活动，不用申报，他们把前一年6月1日至第二年6月1日在市面上开始出售的相机全部列为评选对象，全面衡量，经过几轮投票，最后选中者，被称为“欧洲相机”。这个评选没有什么约束性，也没听说有奖金。不知后来在报刊上怎么变成了“欧洲相机大奖”，不知是真的改名了还是讹传？这7家摄影杂志是：《摄影爱好者》－－英国；《焦点》－－荷兰；《摄影》－－瑞典；《摄影杂志》－－联邦德国；《摄影杂志》－－法国；《摄影电影专家》－－瑞士；《摄影》－－意大利。注：这7家杂志名称的翻译，是按当时国内报刊上的译名列出的，至于何为分别翻译成《摄影》和《摄影杂志》，由于没见过原文，我也不知道。

Scania：买 X-700后，可选择的好头还是不少的，不单只美能达的原厂MD/MC头，而且腾龙有不少SP手动头都很好，只要加个百搭接环就可以用在不同手动机身了。我现在就是SP90/2.5和SP70-210/3.5，加个百搭接环用在300上，感觉非常好。但是，新出的MD口镜头建议不要买，实在是太差了。从实用和经济的角度考虑，X-700是不错的选择，她的生产能延续近二十年，目前还有市场，足以证明其成功。国内二手市场能找到很多MD口镜头，而且相宜，比如MC50/1.4只要400多就有交易，而N50/1.4至少要近千元，但像质并不如价格的差异那么大。至于海鸥生产的MD头，据闻在90年代以来就没出过好东西，但我也用过早期在DF1上的55(58？)/2标头，在4光圈以上就有很好的像质。上面朋友提到的MD70-210/4和MD28-85 /3.5-4.5MACRO都是价格不菲的好头。

辣泡菜：其实X-700是好东西，1985年的价格同FM2相差100人刀，同FM2是一个档次的，只是X-700非要电池才能使。X-700的优点有：明亮的取景器，(该技术转让给哈苏)取景信息全，光圈直读，速度显示，补偿符号，闪灯符号。TTL闪灯具备A，P，M模式。缺点有：1/60闪光同步低了，缺多次曝光模式(有土办法可以实现)。机身的塑料成分多。现在M，N都不愿意对这两朵昔日黄花下工夫了，转在海外生产，目前装配FM2在中国东莞。X-700的装配在上海。

快门锁：买美能达X-700配上二手的镜头，是非常明致的选择！MC50/1.4居然400人民的钱就有得拿!我怎么那么傻，掉进尼康的陷井里！看来海鸥头也得二手老头。

配置

2009-03-18T07:45:00.000-07:00

DF-300有多个型号，不过都是单反机器，都不是数码单反。所以不存在像素的概念。以下是一些相关资料供楼主参考：

类别：单镜头反光照相机
型号： DF-300A

相机类型：石英电子控制式35毫米横走式幕帘快门单镜头反光照相机。
像幅尺寸：24mmX36mm
摄影方式：光圈优先式（自动曝光）摄影，手动曝光摄影（LED双重显示）。
镜头座：MD卡口式。
聚焦屏：中心部裂像，微棱环式，四周敏锐磨砂屏。
取景器内显示：摄影方式表示LED、快门速度数值、快门速度表示LED、快门速度警告LED、闪光灯充电完毕信号。
测光方式：TTL中央重点平均测光。
快门速度：自动（AUTO）时：4~1/1000秒无节变速；
手动时：1—1/1000秒，B门。
自拍：电子自拍，快门按钮启动，时限为10秒，用自拍进行表示灯的跳闪表示动作，快门临开启前有预告，中途能解除。
闪光同步：X接点，电子闪光灯在1／60秒以下的慢速度同步，闪光灯泡在1/15秒以下的慢速度同步。
胶卷感光度刻度：ISO12-3200（每1/3段能锁定）。
A E 锁：AE锁压下式。
多次曝光：有
电池：1.5伏碱锰电池（LR44）二个或1.55伏氧化银电池（SR44）二个。
重量：470克机身净重。
镜头：标准镜头F1.8／50mm。

类别：单镜头反光照相机
型号： DF-300G 照相机
相机类型：石英电子控制式35毫米横走式幕帘快门单镜头反光照相机。
像幅尺寸：24mmX36mm
摄影方式：光圈优先式AE（自动曝光）摄影（LED四灯显示）、手动曝光摄影（LED三灯显示）两种。
镜头座：MD卡口式。
聚焦屏：中心部裂像，微棱环式，四周敏锐磨砂屏。
取景器内显示：摄影方式表示LED、快门速度范围表示LED。
测光方式：TTL中央重点平均测光。
快门速度：自动（AUTO）时：8~1/1000秒无节变速；
手动时：2—1/1000秒、B门、T门。
自拍：电子自拍，快门按钮启动，时限为10秒，用自拍进行表示灯的跳闪表示动作，快门临开启前有预告，中途能解除。
闪光同步：X接点，电子闪光灯在1／60秒以下的慢速度同步，闪光灯泡在1/15秒以下的慢速度同步。
胶卷感光度刻度：ISO25-6400（每1/3段能锁定）。
A E 锁：AE锁压下式。
多次曝光：有
景深预测：有
电池：1.5伏碱锰电池（LR44）二个或1.55伏氧化银电池（SR44）二个。
重量：470克机身净重。
镜头：标准镜头F1.8／50mm。

另外对于焦距来说，两个型号的相机都是采用了50mm 最大光圈1.8的定焦镜头，焦距为固定的50mm

dg

2009-03-16T08:48:00.000-07:00

发展阶段
　　1985年10月
　　Dolce&Gabbana商标诞生，第一次参加米兰时装秀的"新天才"组别的时装秀
　　1986年3月
　　推出第一个内部生产时装系列和举行第一个"真女人"时装秀。
　　时装1987年3月
　　推出第一个针织衣物系列。
　　1987年8月
　　新展厅在米兰的Santa Cecilia街7号新开张。
　　1988年10月
　　与Domenico Dolce家族位于Legnano的Dolce Saverio服装公司签订成衣生产协议。
　　1989年4月
　　首次在东京举行女装时装秀。
　　1989年7月
　　推出第一个内衣裤和泳装系列。
　　1990年1月
　　推出第一个男装系列
　　1990年4月
　　首次在纽约举行男/女装时装秀。
　　1990年10月
　　与位于Ancona的Genny集团签订协议，担任Complice系列设计顾问（直到1994年）。
　　1990年11月
　　纽约展厅在百老汇街532号开张。
　　1991年9月
　　配件：推出第一个有专利的真丝方巾系列。
　　1992年1月
　　推出第一个有专利的领带系列。
　　1992年7月
　　推出有专利的男泳装系列。
　　1992年10月
　　推出婚纱系列，是成衣的补充和丰富 (直到1998年)。
　　1992年10月
　　推出Dolce & Gabbana Parfum系列的第一款女用香水，由Euroitalia公司生产和销售。
　　1993年1月
　　推出有专利的男装内衣裤系列
　　1993年5月
　　设有贸易部、男装和女装部的新展厅在米兰Umanitaria广场2号开张(从2002年5月起搬到 Goldoni街10号)。目前这里设有新闻部和D&G系列的贸易分部。
　　1993年9月
　　为麦当娜的"The Girlie Show"环球演唱会特别制作150套演出服装。
　　1994年1月
　　诞生面向年轻人的新系列D&G Dolce & Gabbana，由Isernia的Ittierre公司生产并在全球销售。推出第一个男装系列。
　　1994年2月
　　Dolce & Gabbana专卖店在米兰Spiga街2号开张。
　　1994年3月
　　推出第一个"D&G Dolce & Gabbana"女装系列。
　　1994年6月
　　Casa时装系列 (从1999年起，只为Dolce&Gabbana专卖店限量生产)。
　　1994年11月
　　推出男用香水Dolce&Gabbana Pour Homme，由Euroitalia公司生产和销售。
　　1995年1月
　　D&G专卖店在米兰Venezia大街7号开张：男装、女装、牛仔装和配件。
　　1995年9月
　　在米兰San Damiano街7号成立设计部和代表办事处。
　　1995年12月
　　与Marcolin公司签订Dolce&Gabbana太阳眼镜和近视眼镜系列的协议。
　　1996年3月
　　在十周年纪念之际，《Dolce & Gabbana的十年》一书出版，收集了最重要的广告和编辑图片。由意大利出版社Leonardo Arte发行；德语版本由Schirmer/Mosel Verlag出版社发行；英语版本由Abbeville Press出版社发行。
　　1996年4月
　　与日本Misaki Shoji集团签订在日本设立销售点、负责销售Dolce&Gabbana和D&G系列的协议。
　　1996年6月
　　发行D & G单曲唱碟《音乐(Music)》
　　1996年11月
　　首次在纽约举行D&G年轻系列时装秀--1997年春夏季女装系列。
　　1997年4月
　　Dolce Saverio股份公司新总部成立，位于米兰Legnano的XX Settembre街123号，现在是Dolce&Gabbana工业股份公司。该公司生产Dolce&Gabbana品牌的男、女装成衣。总部的建筑设计师是Gian Maria Torno，总面积达120.000平方米。每一生产循环水平的生产结构配备信息系统。信息和技术与人力资源的结合和谐协调。
　　1997年6月
　　发行D & G单曲唱碟《More More More》
　　1997年9月
　　Dolce & Gabbana专卖店在纽约Madison Avenue大街825号开张。
　　1997年9月
　　D&G专卖店在纽约西百老汇Soho街434号开张。
　　1997年11月
　　在意大利推出男性和女用香水"By Dolce&Gabbana"。
　　1997年12月
　　《Dolce&Gabbana Wildness》一书出版，收集了以动物印花为主线的最重要的编辑图片。
　　1998年3月
　　新展厅在纽约Madison Avenue大街660号开张。
　　1998年5月
　　推出D & G眼镜系列
　　1998年11月
　　由著名的法国出版社"Assouline"发行关于Dolce&Gabbana的新书，是获得巨大成功的收藏丛书《Mémoire de la Mode（时装的记忆）》的组成部分。法文版本： Assouline出版社；意大利版本： Octavo出版社；美国版本： Universe Publishing (Rizzoli International Publication Inc.)出版社；英国版本： Thames & Hudson出版社；德国版本： Schirmer/Mosel出版社；葡萄牙版本： Cosac & Naify出版社。
　　1999年2月
　　推出男用香水"D&G Masculine"和女用香水"D&G Feminine"。
　　1999年5月
　　Dolce & Gabbana实行工业垂直化策略，抽取领有集团服装部门专利证主体的Dolce Saverio股份公司 (今天是Dolce & Gabbana工业股份公司)的51%，和对销售点自行销售管理DGS公司的100%。
　　1999年5月
　　收购领有集团眼镜专利证的Marcolin股份公司的5%。
　　1999年6月
　　为惠妮·休斯顿的1999年环球演唱会特制服装和配件
　　1999年9月
　　Dolce & Gabbana男装专卖店在米兰Spiga街26号开张。
　　2000年2月
　　推出D&G TIME手表新系列，由Binda International生产和销售。

成绩
　　在2006年3月31日结算的2005/2006CZ年度，Dolce&Gabbana集团同样确定了最近数年的积极趋势，在主要的经济金融合计中取得实质性的增长。批发营业额-代表由集团及获授权的第三方进行的Dolce&Gabbana和D&GDolce&Gabbana两个品牌产品的销售-总值达15.543亿欧元，比上一CZ年度增长35%。这一数字包括了最新的MotorazrV3iDolce&Gabbana手机的销售利润约2亿欧元，该款手机是Dolce&Gabbana和摩托罗拉两个品牌结合的特殊项目成果。
　　在结算之日，Dolce&GabbanaLuxembourgS.à.r.l.的合并营业额达10.509亿欧元，比上一CZ年度增长30%；营业毛利增长30%，达到2.988亿欧元；营业收入增长31%，达2.134亿欧元；纯利润增长38%，达到1.497亿欧元。截至2007年3月31日，集团的整体结构超过3410个单位，直接管理的销售网络拥有93各分销点和11个厂家直销中心

Dolce & Gabbana
　　Dolce & Gabbana 是梦想的表达：一个以独特的服装设计和高水平的剪裁而著称的豪华品牌。 Dolce & Gabbana品牌多年来不断发展壮大，但总是保持自己的标准。一种独特的风格，非传统豪华的表达，一季接一季地将创新和强烈的独特地中海烙印相结合。对立的特征构成最深刻的本质。
　　品牌介绍
　　品牌简介Domenico Dolce和Stefano Gabbana两个意大利人，在携手共创Dolce & Gabbana品牌前，人生的道路是全然不同的，一个小时便常跟随父亲在小服饰店内选布料、剪裁、与裁缝，另一个则与时装完搭不上关系，直到他们在米兰相遇，才促成Dolce & Gabbana的诞生。Dolce & Gabbana的作风非常独特，创业之初步不但婉拒交付大成衣工厂代工生产，坚持自己制版、裁缝、样品和装饰配件及所有服装，还只任用非职业模特儿走秀，对于当时讲究排场的时装界，是相当独树一格的。展示会中经常播放古典音乐、化妆、地中海发型及具有一头黑发和南方女子身材的模特儿所经营出的南意大利西西里岛风情，几乎以成为Dolce & Gabbana独特的标志风格。意大利女性穿著讲究饰品，使得Dolce & Gabbana的配件都显得相当华丽，从皮草制的复古提包，搭配绣满图案的及膝袜，都极具Dolce & Gabbana设计风格。与饰品相较，Dolce & Gabbana的眼镜就显得较为低调，避免复杂的金属装饰，复古简单的设计，突显出干练的都会气质。90年代初内衣外穿的风潮，奠定了Dolce & Gabbana内衣与泳装系列复古风格的基础，传统造型的内衣成为重要的搭配单品。而其所推出的香水更获得许多大大小小的奖项。值得一提的是Dolce & Gabbana并不等于D&G，D&G是它近年来越来越受欢迎的年轻副牌。两者结合了来自意大利的万种风情，为时尚圈带来活力四射的风格与创意。相关产品：香水
　　D&G
　　除了是一种风格外， D&G Dolce & Gabbana更代表了一种生活方式：这个品牌说的是年轻人的语言，以完全自由地试验材料和形状为乐。 D&G Dolce & Gabbana生活在没有地理边界的当代大都会，从中汲取刺激、灵感，然后转化成富有设计内涵的时装系列，充满讽刺和反对随波逐流。

集团
　　时装Dolce&Gabbana诞生于1985年，今天已成为在奢侈品领域中最主要的国际集团之一。两位奠基人Domenico Dolce和Stefano Gabbana一直以来都是公司的两个品牌——Dolce & Gabbana 和 D&G Dolce & Gabbana的创造和设计源泉，也是以平衡发展和致力于核心业务为特征的成长策略的最初倡导人。集团设计、生产和销售Dolce & Gabbana 和 D&G Dolce & Gabbana品牌的高档服装、皮革制品、鞋类和配件。通过授权的合作伙伴管理Dolce & Gabbana 和 D&G Dolce & Gabbana品牌的香水和眼镜的生产和销售，以及 D&G Dolce & Gabbana品牌的钟表首饰。多年来的持续发展，令 Dolce & Gabbana 集团今天成为一个坚强实体，内部拥有进一步发展的基础。集团完全拥有两个品牌，并管理和控制三个营业部门：生产、销售和专利。除了专利产品以外，集团直接控制这两个品牌从设计到销售的整个价值链。主要工业公司是Dolce & Gabbana Industria S.p.A.，属下有Legnano和Incisa in Val D’Arno两个生产厂家。至于销售方面，欧洲大陆由米兰总部管理批发渠道；意大利的直销点则由DGS S.p.A.公司控制，而欧洲其它地方则由Dolce & Gabbana S.r.l. 公司属下的各地方公司控制。至于国外市场则委托完全由Dolce & Gabbana S.r.l.控制的纽约、东京和香港的分公司负责，配合管理各自市场的批发和零售。特别是中国市场，香港分公司通过在上海、杭州和台北设立的地方机构直接经营。另外最近还新开设了罗马、伦敦、巴黎、巴塞罗纳和杜塞尔多夫分公司，专售D&G Dolce & Gabbana品牌

简介
　　公司创始人总部位于意大利米兰的杜嘉班纳公司创立于1985年，如何定义Dolce & Gabbana世界并不容易。这是一个充满情感、传统、文化和地中海气息的世界。
　　Domenico Dolce（多梅尼科 ·多尔切）和Stefano Gabbana（史蒂法诺·加巴纳）将他们的姓氏缔造成以魅力和多元化而著称世界的品牌。两位设计师同时也是一对高品位的同性恋人，他们将他们的意大利精神变成一面旗帜。两位设计师将他们感性而独特的风格演绎并推行到全球。两位年轻的设计师面向年轻人，并从年轻人身上撷取灵感。两位设计师深受好莱坞明星的青睐，是他们最喜爱的设计师；两位设计师为当今所有摇滚乐歌星设计服装，并获选为无可争议的设计先锋人物。
　　他们是麦当娜、莫尼卡·贝鲁奇、伊莎贝拉·罗塞利尼、凯莉·米洛、维多利亚·贝克汉姆、安吉丽娜·朱莉的指定设计师。
　　Dolce & Gabbana的女性是女强人，自爱并知道受人喜爱。Dolce & Gabbana的女性是国际化的女性，穿梭全球，但不忘记她的祖根。Dolce & Gabbana的女性无所谓地穿着极端性感的紧身衣或在透明的服装下露出文胸，衬以极端男性化的细白条纹服装，并搭配领带和白衬衫或男装背心，但总是穿着高跟鞋，迈着极为女性化和性感的步伐。钟爱来自西西里的极端男性化的鸭舌毡帽和当作项链穿戴的第一次圣礼念珠：无论身为经理、妻子、母亲还是情人都适宜穿着，但骨子里总是女人味十足。Dolce & Gabbana的男性也一样，轻松自在，为自己而穿着，带点享乐主义者的味道，非常注重细节，喜欢一切非公式化的东西，追求自由，并获得成功。
　　上班时可穿着完美无瑕的细白条纹西装，或以脱线牛仔裤搭配布雷泽外套。他是规定的制定者，而不是规定的遵守者：以鸭舌毡帽搭配西服背心和永不衰落的白背心，魅力超凡，强调传统。
　　这就是为什么Domenico Dolce和Stefano Gabbana总是爆新闻：他们的服装为他们代言，风格清晰，总是以相同的语言发出准确的信息，但同中求异，不断发展，通过世界上的所有风格加以演绎。

张艺谈张作骥影片的配乐

2009-03-16T07:24:00.001-07:00

2006-05-07 11:59:24　　来自: 錦年

　　◎张作骥这个人和他的作品：
　　
　　　　认识张作骥是在八年前他拍“暗夜枪声”的时候，他是个不错的人，蛮够朋友的，我跟他合作过“暗夜枪声”、“忠仔”、“黑暗之光”及刚拍完的公视“车正在追”，沟通上已经有些默契，我觉得他电影的风格比较接近真实，真实里面还带一些超现实，这种也是我比较喜欢的一种电影类型，我几乎都会先看过他的剧本，他剧本写得很好，拍摄时可能因为预算和技术的问题必须做些不得已的变动，所以拍成电影后反而少了一些东西，我感觉他的剧本反而比电影还精彩！
　　
　　　　◎音画一体，无法独立：
　　
　　　　电影里的画面和声音是一体的，你不能独立一个画面，或是独立一个声音，也许电影可以回到默片时期的黑白片，但是精彩度绝对不超过有声电影，所以处理声音时，我会以故事为主，不见得每部电影都要给一个很华丽、包装得很好的音乐，以张作骥的片子来说，我觉得声音上比较粗一点，不像我做唱片的品质，但那不是最重要的，最重要的是要把那个感觉表达出来，你不可能放一个交响乐在他的作品里，那会很怪、很突兀，基本上他比较喜欢吉他的音色，刚好这个调性跟他的电影很搭，像电吉他的音乐和“忠仔”的八家将看似完全不搭却可以融合在一起。
　　
　　　　◎“黑暗之光”不一定要是很美丽的音乐，可是它至少要很诚恳：
　　
　　　　“黑暗之光”的音乐，一开始我的想法是用传统乐器做比较舞曲调性的音乐，像阿平和康宜在天桥上那段的调性，有些无奈的感觉又带点不满的情绪，这种音乐比较属于年轻人也比较新，乐器使用可以丰富一点。跟导演讨论以后，我们决定音乐要非常简单，除了因为当时时间紧迫，主要还是因为影片内容是属于中下阶层的环境，如果配上太复杂或是太华丽的音乐，感觉会很假，不是那么诚恳的感觉，所以最后我们决定结合手风琴和电吉他，自由地运用，不用固定一个小节必须要有几拍，甚至可以容忍一些小错误，拍子有点不太对都没关系，只要能跟画面搭，感觉对就好了，我想做的是：它不一定是很美丽的音乐，可是它至少要很诚恳！
　　
　　　　　　　　
　　
　　
　　　　◎收音问题是最大遗憾：
　　
　　　　“黑暗之光”是我第一次负责整部电影的声音，包括配乐及杜比环绕系统。其实并没有让自己很满意的部分，因为我想应该还可以做得更好，另外就是原来现场收音就有一些问题，虽然我们也尝试以重新配音来补救，可是因为演员不是那么专业，他们配音的情绪跟演出时有很大的差距，所以配出来的感觉都不对，最后还是使用原来的声音，可是原来的声音就有杂音或断讯等很多问题，我们只能尽量处理，其实很难达到满意，因为我们非常清楚哪里有问题。所以一部电影声音要很好，从一开始收音就必须很好才行。
　　
　　　　◎配乐的哲学：
　　
　　　　其实影像和声音搭配得最好的状况是声音可以把影像的感觉加强，整部电影声音该加强或该收的地方都应该控制恰当，你会发现有些电影配乐做得很好，但是影片本身好像差强人意，但是不管怎么样，即使影片本身不够强，好的配乐可以做些弥补，提升整个电影的感觉，观众至少还可以听出感觉，如果连配乐也差，观众就更难体会整部电影的意境。有些导演对音乐没什么概念，只等音乐出来套上去用就是了，单听配乐可能很棒，可是配上画面，不合就是不合，这就是失败的配乐。
　　
　　　　也有一些导演对于配乐方面很注重，张作骥就是这种导演，他要求的不是说制作品质要有多好，而是那个感觉一定要对。称职的配乐要看影片的风格，就是要融在戏里面，某些时候音乐是配角，某些时候音乐可能与画面平行，不能说整部电影某一方面是强势，至少不能是音乐强势，因为电影还是以视觉为首要，所以才叫“配乐”。像“与狼共舞”这部片，它的音乐跟画面就很Match，当然国外的制作水准比我们高，因为他们有这个时间、空间和预算，他们单单一部电影配乐的预算，据我所知至少可以在台湾拍四部电影。我觉得成龙的电影真的不差，如果可以提升一些声音方面的品质和概念，他的电影的等级有些是可以媲美好莱坞的制作，因为我觉得声音在电影里是蛮重要的一个元素。
　　
　　　　另外有一部日本电影“七夜怪谈”，整部电影完全没有配乐，但是它的音效做得很好，使用很多像是二片铁片在那边磨似的一些杂音，虽然不是那么写实，也不是做得非常精致，至少有营造出来那种感觉，我觉得做得还不错！

《毕业生》电影配乐赏析　　　文 / 王忆昔

2009-03-16T07:22:00.000-07:00

《毕业生》是新好莱坞电影的先锋之作，也是著名导演迈克•尼科尔斯和六十年代享誉乐坛的“梦幻双人组合”保罗•西蒙和戴夫•格鲁辛的天作之合。影片配用了美国50年代非常流行的乡村民谣，曲调悠扬，略带感伤，清新的木吉他与二人空灵的声线造就了昔日的经典——《寂静之声》。
得奖记录：第40届奥斯卡最佳导演、第25届金球奖最佳影片、第25届金球奖最佳女主角。
内容简介：班的父母忙着筹备庆祝他毕业的家庭晚会，但班却对未来生活感到茫然。来客中的鲁宾逊太太却对这个小伙子很感兴趣，并让班开车送她回家。风流的夫人不断挑逗班，但被拒绝。可是日子如此无聊，不久后他开始了同鲁宾逊太太的约会，同时他也爱上了太太的女儿伊琳，遭到鲁宾逊太太坚决反对。班终于找到机会向伊琳表白了爱意，并讲述了自己的堕落，只是没说出那个夫人的名字。伊琳原谅了他，但鲁宾逊太太的震怒使伊琳猜到了一切。她伤心地与一个叫卡尔的人伧促结婚。班得知这一消息，不顾一切向教堂冲去，并将伊琳从教堂拉了回来……
在谈影片与配乐的相互关系之前，我要先谈一谈电影音乐在影片中的作用。大致有六点：一、概括内容，深化主题。一是高度凝炼的歌词语言概括了思想主题，二是易于与影视的形象画面形成声画合一的艺术综合体，易于体现影视自身特点。二、描绘景物，交待环境。通过模拟、象征、暗示等手法创造出的描绘性音乐，符合人们正常的心理要求，经常为人接受。三、渲染气氛，烘托情绪。一般是运用声画统一的原则，为画面配上气氛、情绪与之相同的音乐，使画面所展现的气氛得以强调，增强画面的感染力，通常具有影响画面基调的作用。四、刻画形象，突出主题。音乐挖掘人物内心的情感来烘托表现人物形象，刻画人物形象主要侧重于人物的表情、精神、气质、职业特点。五、抒发情感，挖掘内心世界。广而言之，音乐都在抒发情感。内心活动性音乐同作品中人物形象之间的关系是比较内在的、深刻的，因为这种音乐同影片中人物的内心活动有密切关系。六、参与剧情，推动剧作作用。剧作作用是指音乐不仅成为电影作品结构中的一个有机组成部分，而且参与到剧情中去，直接影响剧情的发展，也就是参与讲故事，在音乐故事片、歌舞片中尤为重要。
影片中出现最多的音乐，也就是影片的主题曲《寂静之声》。影片刚开始，主题曲就响起，并把班杰明刚从学校回来，对未来没底，沮丧、茫然的心情与音乐很好地结合在一起。音乐阐释着班，班也阐释着音乐。这首歌曲似乎就是专为班而写的，每当班的心里产生震荡，音乐就会适时地响起，或歌或乐。
主题曲第二次出现，是在班与罗宾逊太太产生关系后，对班的一段堕落的日子的写照。
这段日子里，班似乎什么也不想，有人来找他谈工作的事情，他只充耳不闻，沉浸在白天的无所事事和夜晚与罗宾逊太太在酒店包房里厮混的无聊快乐之中。
第三次出现，则是当班和罗宾逊太太的事情被伊琳知道后，争吵之后伊琳不再理班，班却真正认识到了自己是爱伊琳的。音乐所要表达的是伊琳的冷漠与班的无可奈何，是班那深邃的眼神所流露出的爱情的火花，班最终决定要娶伊琳为妻，是追求真爱的坚决。
第四次出现，是当班开车去往伯克莱的路上，这时的音乐似乎表达了班放下一块心病后的释怀，虽然伊琳和他的未来渺茫得紧，但他要去试试，要到伊琳的学校去见伊琳，要让她为他的所为而感动。他选择了默默跟随，等待。
第五次则以纯音乐形式出现，伊琳走在校园的路上，音乐冉冉响起。班则暗地里跟着她，并在车上追赶上她，但伊琳这次却是去和一个叫卡尔的男生约会。
第六次出现，在公园，班眼睁睁看着伊琳和卡尔挽肩离去，留下班在那里痛苦、孤独，是失落，是失望。身边孤单的猩猩，则是对他当此时的心境的一种戏谑的比喻。
最后一次出现，到了片尾，班冲进教堂，把伊琳拉了回来，把爱情夺了回来。两人一个风尘仆仆，一个身穿婚纱，坐在公车里面，逃离和胜利的快乐一闪而过，班的脸上继续写满了前路的茫然无边。一个刚毕业的大学生对于生活的不知所措和心中理想的遥遥无期。
影片的其余几首歌曲《斯卡堡集市》、《罗宾逊太太》、《四月她会来》等，与主题曲《寂静之声》曲风统一，相映成趣。
片中许多地方采用画内音的方式，用以烘托气氛，描绘环境。如罗宾逊太太把班引到她的家中，打开音乐，一边倒酒，一边聊天，要留住班。班却坐立不安，百般告辞，却坳不过精炼的罗宾逊太太。又如，在泰福酒店，班提心吊胆和罗宾逊太太约会，讨论订房间时酒店里传来的琴声。再如班第一次约伊琳出来，不情愿的班把伊琳带去看脱衣秀表演，场子里传来的****人的音乐，以及两人出了脱衣秀场子后，在车里听到的旁边青年播放的摇滚乐，还有教堂里伊琳与卡尔的婚礼上的礼曲。同时，这些音乐也描写了片中人物当时的心情，使得主人公的心情与观众产生一种共鸣，让观众感到一种现实的心理反差。
《毕业生》在很大程度上是一部喜剧片，但这种喜剧效果或许是源于悲剧内涵的。而音乐，在这个时候——当班和伊琳欲找一家酒店喝酒，却找到了泰福酒店。诙谐、幽默、风趣的音乐响起，班担心这里的人都认识他，希望人们不要向他打招呼，却被人不断热烈的招呼，把伊琳弄得莫名其妙，观众在露出笑脸之时，已经隐隐感觉到了一场悲剧即将发生。即使在最后，班把自己深爱的伊琳从别人的婚礼上救出来，观众在为男主人公感到高兴，笑于公车内众人奇怪地看着班和伊琳的眼神时，音乐所流露出来的感情，足以使观众体会到悲剧的成分。
在被老师称做“最后的营救”的经典段落里，音乐也起到了十分重要的作用。班在得知伊琳将和卡尔结婚之后，他疯狂驾车，音乐在这里所起的作用，可以渲染气氛、烘托情绪来表达，同时也刻画了班坚决地一面。班驾车是在发泄一种情绪，音乐也在和班一起发泄。这个段落里，连续出现了几次驾车的镜头，都配以那一种音乐，反复强调班的心情，后来班的车因没有油了，熄火时音乐伴随车熄火的节奏缓缓而绝，非常到位地刻画了班当时焦急的心情，也让观众为他是否能阻止伊琳的婚礼而担忧。
《寂静之声》在片中出现多次，所起的作用，自然是别的音乐所不可比的。除了突出主题，烘托情绪，刻画人物，抒发情感等，还是该片剧本结构中不可或缺的一部分。通过七次在情节中的穿插，使得人物在剧情中得以立足，使得班的形象更为鲜明。而片首与片尾的呼应，更使得剧情在头尾的结合趋于完美，达成一种一唱三叹的效果，深化了主题。
《毕业生》之所以能成为经典，和《寂静之声》的创作是密不可分的。没有经典的《寂静之声》，就没有今天我们看到的经典影片《毕业生》。

其实现在想想当初高二高三的时光

2009-03-16T06:22:00.000-07:00

其实现在想想当初高二高三的时光，与我来说并不仅仅是唏嘘感叹，更多的是一种坚实的后盾。如何从初中开始就一直呆在重点班，如何竟如竞争更加激烈的重点班。最初的我并没有对此有多少的计划，而我的中学时光，坦诚地说是被重点班一步一步带着走的。而那些是我的幸运，这些在我自己看来是超乎我水平的运气，但是在旁人看来，这些却都是我应得的，因为我的努力。我不太了解这是否是自己和旁人角度的偏差，或者实质真相就像我感觉的那样。我无从考证，因为承认自己的运气，却也是需要勇气的。有时候和别人探讨这个问题，大都是浅尝辄止，很难非常坦白地挖出自己的劣根。这便是我的劣根。

一步一步地往没有最高点的山峰攀爬，只知道自己只能硬着头皮追求更高，从来不会也不允许自己意识到也许某个地方，我是可以停下来自满一下的。没有，从来没有这样的念头。即使是片刻的偷懒，我也是盯着更高的地方，眼皮都不眨一下地想着小憩过后，更高的地方还在等着我。等着我干什么？我没想过。不是故意不去想，而是意识不到。也许是因为惯性，就像习惯去爱一个人，也许自己并不再还有真正的爱情，但那种情绪却已经成为了习惯，成为了思维惯性，理所当然地，我以为自己还在爱。

最惨烈的当属最后的两年。最精英的一个班，最突兀的最低分，硬扛着。我知道周围的人有些人是不在乎你的成绩而跟你舒适相处，但始终有人的眼神，会让我羞愧、退缩。当然不能理解如何去不在乎别人的目光，在那个时候。我唯一能做的，就是自己吞下所有的恐惧，积极而被动地继续向上。

这样的两年绝对是刻骨铭心的，我不知道如何用文字传达这种连我自己都已经忘记细节的情绪了。而这样的两年，让我觉得，不管以后遇到什么样的境况，我都不会再恐惧了。哪怕是饥寒致死，心里面也不会再感受到那种钻心的恐惧。

虽然不确定恐惧一词是否能客观地反映我的感受，但它是我毫不犹豫打出来的词，也许是它，也许不是。反正这样的追究已经没有意义了。

大一，那样的眼神语言与还是会有，“哦，这个大学啊…也还不错啊…挺好的，离家多近啊…”“你？你也来这种大学啊？”。但是我已经不会那么难受了。因为，这样的状况，其实也许是我的真实水平。也许我终于生活在真实的境况当中了。

大一，我做了什么？

莫名其妙的被选进了张，开始了既主动又被动的工作。

对于爱情，或者应该叫恋爱而没上升到爱情的那种高度，我始终是不上心。见到甜甜蜜蜜的情侣，心里觉得这样的图景挺美好的，但始终没有波澜。看到帅气顺眼的男孩子，也会眼睛直勾勾地盯上几眼，却怎么也想不到自己身上去。喜欢把自己打扮得好看，因为那样才有勇气昂首挺胸自如的走在路上而不理会别人。也许是我出了什么毛病…我也不太清楚。

对于语言，现阶段来说主要是汉语和英语，始终有不渝的热情。对，我喜欢交流，准确说来是和外国人交流。说我崇洋媚外，我也承认。而对于汉语，我始终认为这是使我感到快乐的地方，因为我的母语，让我能够自己去理解诗词歌赋，可以不厌其烦地咀嚼《红楼梦》，并且它在外国人眼中看来是如此的神秘深奥。我喜欢我会说的汉语，我也喜欢给我带来另一个世界的英语，还有更多，也许暂且来说就是法语。我始终为语言的魅力所陶醉，深沉地沉浸在里面。而交流，本身就是一种高贵的行为，并且有趣。

而图书馆，是我的缺憾。很少呆在图书馆里，虽然卡上一直有借着的书。总是不太明白那里究竟是由怎样的力量，能够让一代又一代的人对其赞赏推崇不已。而我，最好这学期能够亲自去尝试一下。否则失去了，也就没有后悔的机会了。

虽然说现在学的是传媒专业，而以后的深造也应该或者说最好往这方面发展。但总感觉实际上，我的心并不在这里，而是在于语言。当然，我不敢说，因为怀疑自己到底是否还有这样去选择的机会，或者这样的选择是否会遭来周遭的贬斥，起码是劝说。

大一的我做很多事情，或者说做任何一件事情都是有明确的目的性的。这样是否就丧失了事情的本质意义，或者说我的观念有了偏差？参加义工工作，为的是那本工作记录；俯首贴耳参加张，为的是实践经历；好好的学习争取高绩点，为的是GPA；与新认识的人主动交流，为的是获取更多的有用信息；帮老师不厌其烦地送东西，是为了给老师从另一方面留下良好的印象；懒于与某些人联系，因为觉得他们在某些方面都不如我，会浪费我的时间…这样看来，似乎一切行为的动机只有一个：study abroad. 这到底是好事，抑或是坏事？无论如何，这些行为都已经渐渐成为我的潜意识，能够不经大脑就自动转化为行动了。

只有一句话，陪伴我走过了那么长的路：“今后回头再看，我不会感到后悔。”

足矣。

4.15

2009-03-12T23:51:00.001-07:00

在经历了托福、GMAT、GRE考场上的较量之后，希望出国深造的学子们可没闲着，为申请到好学校，他们又开始不停地填表格、四处咨询。原本，2月份是他们刚刚可以松一口气、等待录取通知书的好时光，可近几年却偏又要面对美国多家大学联合制定的“4·15协议”。往往，先到手的录取通知书成了烫手的山芋，不接受吧，怕失去难得的机会；接受了，又怕以后拿到更好的学校通知书。

什么是“4.15”协议

　　1999年，美国多家大学联合制定并实施针对外国学生的“4·15协议”，主要内容为：申请赴美留学、已拿到多个学校录取通知书的学生，必须在4月15日前决定一所你要去的学校，否则，所有录取通知书将都被视作无效。这个“协议”的用意，是约束某个申请人同时接受多个学校的录取，但直到开学前才通知其中一些学校“无法按时就读”的不当行为。申请人的这一做法将大大影响学校正常的招生、教学秩序，也让美国每年白白放空大笔奖学金。当然，他们还损害了本国申请者的形象，为后来的申请者带来麻烦。

“4·15协议”主要内容

　　在每年的4月15日之前，申请者可以在已录取他的学校中任意选择一家就读，但明确答复所选大学的时间应不晚于4月15日，还应尽可能早地把自己的决定通知别的学校。留足时间，将已经收到录取通知书但决定拒绝的学校的各类录取资料，包括I-20表格，在4月15日之前寄回（材料不一定要在4月15日之前到达被拒学校，但事先必须用电子邮件通知学校）。如果在接受一所学校的录取之后反悔，受损害的学校有权请求所有签署“4·15协议”的其他大学拒收该生。

“4.15”协议原文（官方网站公布）

　　Acceptance of an offer of financial support (such as a graduate scholarship, fellowship, traineeship, or assistantship) for the next academic year by a prospective or enrolled graduate student completes an agreement that both student and graduate school expect to honor. In that context, the conditions affecting such offers and their acceptance must be defined carefully and understood by all parties.

　　Students are under no obligation to respond to offers of financial support prior to April 15; earlier deadlines for acceptance of such offers violate the intent of this Resolution. In those instances in which a student accepts an offer before April 15, and subsequently desires to withdraw that acceptance, the student may submit in writing a resignation of the appointment at any time hrough April 15. However, an acceptance given or left in force after April 15 commits the student not to accept another offer without first obtaining a written release from the institution to which a commitment has been made. Similarly, an offer by an institution after April 15 is conditional on presentation by the student of the written release from any previously accepted offer. It is further agreed by the institutions and organizations subscribing to the above Resolution that a copy of this Resolution should accompany every scholarship, fellowship, traineeship, and assistantship offer.

申请美国研究生常见问题解答

2009-03-12T23:50:00.001-07:00

问：什么时候开始准备GRE，TOEFL考试？
答：我们建议从大二开始准备，这样的话时间会宽松一些。如果成绩不理想还可以从新考。如果大三开始准备，也是可以的，最好在大三上半学期考GRE，然后下半学期完成TOEFL。
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问：GT考得不高，是不是申请就没有希望了？
答：从现在来看，高的GT成绩对于申请人有很大的帮助，但是这不是惟一的决定性因素。一般学校都有一个门槛成绩（参见TOEFL，GRE考试介绍），只要过了这个门槛就没有问题了。特别是一些名校，并不要求硬性的GT成绩，只要你的其他条件足够优秀，他们并不会特别在乎GT。所以只要你的GT不是非常低，就仍然有机会。
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问：什么是GPA?
答：GPA是Grade Point Average的缩写，是把成绩按学分加权计算出来的加权平均分，有百分制和四分制两种，美国大学一般采用四分制。
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问：我GPA不高，还能申请吗？
答：GPA算法不同，通常按照北大算法会相对高一些。一般大学的录取会有最低的GPA要求，常见的就是4.0为满分时，3.0 或3.2 为最低。如果总的GPA不高，但是专业的GPA比较高可以把major GPA单独列出，展示你的专业能力。还有些学校给分非常严格，全校的GPA都不高，那么你可以把你的年级排名列出来，以示你的成绩优秀。
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问：本科的学校不好，可以申请吗？
答：除了清华、北大、中科大等少数牛校，剩下大多数申请到美国研究生的同学毕业的院校都不是中国最好的大学。无可否认名校背景对于申请是很有利的，但这绝对不是学校决定录取者的最重要标准，只要你足够优秀，那么就大胆的申请吧。
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问：哪里可以找到美国大学和专业的排名？
答：大学和专业的排名是选校的一个重要依据，我们平时常说的排名一般是指美国ＵＳＮＥＷＳ提供的美国大学的综合和专业排名，啄木鸟网站上有２００８年ＵＳＮＥＷＳ的最新排名。常用的网址有：www.petersons.com,www.usnews.com,www.gradschools.com　等，要强调的是这些排名是根据很多因素统计出来的，比如学校每年的获赠捐款就是其中一个，所以这只是一个参考而不能把它当成选校唯一的依据。
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问：我能够转专业吗？
答：专业背景是录取的一项重要标准，转专业本身无疑是对背景的一种削弱。如果一定要转，建议在相近的专业内转。或者一些专业对某项课程要求严格，而恰好你就是学这个专业的，比如很多在国外读金融工程的学生原来都是数学系，因为金融工程对数学的要求极高。总之，要能够给录取委员会一个充分的理由说明你为什么转这个专业并且你已经为此做了准备。
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问：我需要套磁吗？
答：一般来说理工科的学生套磁比较容易一些，有研究经历的学生也要容易一些，而且套磁要有效果并不是一件容易的事情，需要你深入了解这个教授的研究背景，研究方向等，所以我们建议大家量力而行，不要因为套磁不成功而给教授留下不好的印象，这样就得不偿失了。
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问：推荐信一定要找名人写吗？
答：许多申请人错误的认为请名气越大的人写越好，这是一个误区。推荐信要根据每个人的具体背景来决定找谁写，并没有普遍适用的答案，但不管是请什么级别的人来写，一定要体现该推荐人和申请者是如何相识的，是什么关系，并确实了解申请者的情况，这样才合乎情理和逻辑，这样作才符合西方人的思维方式。例如一个本科生，在学术上很一般，请一个院士来写就很牵强。
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问：申请费可以不交吗？
答：申请美国的研究生一般每个学校要交５０－１５０美元左右的申请费。以前经常有中国学生哭穷让学校免掉申请费。但现在美国人已经基本上不会同意免申请费了，如果你不交申请费你的材料就不会被受理，所以建议大家不要为了省这点钱而丧失了被录取的机会。
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问：申请Master还是PhD？
答：如果你想要奖学金，那么申请PhD的几率会大一些，一般的Master是没有奖学金的，当然这不是绝对的，比如去年啄木鸟的一位同学就成功申请到了加拿大的硕士奖学金。PhD一般是为了毕业后做研究准备的，如果你不打算做研究，那么Master是更好的选择。
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问：只读Master还需要GRE成绩吗？
答：绝大多数是要求GRE成绩的，这要看具体的学校要求，有些学校的Master项目不要求GRE成绩，但是我们推荐申请人最好有一个GRE成绩，这样学校的选择面和你的竞争力都会提高。
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问：GRE和TOEFL如何送分？
答：GRE和TOEFL送分可以通过电话和网络的方式完成，报名网站上都有说明，对于啄木鸟的客户，我们提供只收取成本费用的送分服务。具体可参见我们的特色服务。
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问：什么是春季入学？
答：美国有些大学设有春季和秋季两个入学时间，春季一般是每年的2月或4月开学，秋季是8-9月开学。大家一般都是申请秋季入学的。因为很多学校并不提供春季入学。具体哪些学校提供春季入学，只有学校的网站上才能查到准确的信息。

美国研究生申请综述

2009-03-12T23:48:00.001-07:00

一、什么时候开始准备申请？
如果我们从考GRE，TOEFL开始算起，整个申请需要花一年半到两年的时间。
大部分美国学校研究生都是在秋季入学，如果你要申请2008年9月入学，那么你最好在2006年10月参加GRE考试（万一考不好，可以在2007年6月再考一次），在随后的3到6个月内参加TOEFL考试。然后你就可以开始选校和申请材料的准备了。
关于时间的安排可见陈起永老师的美国研究生申请预警表。GRE和TOEFL考试的相关介绍请参见我公司网站http://www.peckeredu.com/

二、申请需要的材料
接下来你必须在1月以前把你的申请材料寄到学校。一套完整的申请材料包括以下一些内容：
a. 所申请学校要求的申请表格
绝大多数学校是在网上填写，在线提交就可以了，极少数学校是要求你打印下来，手工填写，具体的要求要看各个学校的网页。
b. 一份或多份大学的成绩单
如果是毕业后申请，需要提供四年的成绩；如果是在校学生一般要求提供从大一到大三的全部课程成绩，有个别学校会要求大四上学期的成绩单。所有成绩单都必须是中英文对照，加盖学校的公章，并由学校装入信封后封口，并在封口处也加盖公章或专门的封口章。
c. 在读证明或学位证/毕业证（工作证明）
美国大学一般在应届申请人提供成绩单之后不再要求在读证明，因此除非学校有明确要求，否则不需要办理在读证明。毕业生需要提供毕业证和学位证，要求也是中英对照。并封好，加盖公章。
d. 推荐信和推荐表格
一般美国大学要求三封推荐信，一般是由老师写好以后签字，和推荐表格一起密封在信封里，然后在所有封口处签字。
e. PS（Personal Statement）
PS也就是自述，它在申请美国研究生的材料中占有重要地位，后面会详细叙述。
f. 论文，获奖证明
如果你发表过学术论文，可以把论文的复印件附在申请材料中，中文论文最好有英文摘要Abstract. 另外如果你获得过国家级或者国际竞赛的奖项，那么当然要把奖状复印了一起放在申请材料里面。
g. 个人简历（RESMUE）
很简单，如实写出来就可以了。要注意突出自己的优秀点。
h. 财力证明
一般学校会要求你提交一份资金证明，对于自费的学生来说，这是证明你有能力负担几年的学习和生活费用的重要材料！
i. 其他材料
有一些学校会要求一些特别的材料，比如有些文科专业会要求提交Writing Sample，这些需要根据学校的要求及时添加。

三、奖学金简介
美国提供的奖学金种类繁多，来源不一。除了一般美国大学提供的以外，很多官方和民间的机构也提供各类奖学金。但中国申请去的学生基本上是从大学获得奖学金，所以我们简单介绍一下美国大学颁发的奖学金：
总的来说美国大学提供的奖学金分为两类：一种是Merit-based，是根据学生是否优秀来颁发的，另一种是Need-based，这是根据学生的经济能力来颁发的。对于研究生来说大多数获得的是前一种。
Merit-based奖学金又分为两大类，一类是Fellowship剩下的就是Assistantship。Fellowship是不需要获得者做任何工作的，也就是白给你钱（当然这需要你足够优秀），而不用你为学校干活。第二类Assistantship包括Teaching Assistantship, Research Assistantship和Graduate Assistantship，都是需要你干活才能拿钱的，一般都是协助教学科研或者学校的各种后勤，办公工作。通常一周工作20个小时就是全奖，一周工作10个小时就是半奖。
对于中国的申请人来说，申请硕士一般很难获得奖学金，申请博士（PHD）才能得到奖学金，而且Fellowship也是非常少见的，基本上都是TA或者RA。2007年啄木鸟就成功地帮助同学申请到了美国top10大学的Fellowship，这是很不容易的。
(关于奖学金的申请策略请见陈老师的文章“奖学金申请全程指导”)

四、个人定位与选校，选专业
美国的高等教育机构一共有4000多所学校，如何在这么多的学校中选择适合你的学校和专业是个相当让人头疼的问题。我们首先要做的就是个人定位。首先要明确自己的水平、优势和弱点，这样才能够合理的选校。在这个基础上，我们需要参考学校的综合排名，专业排名，往年录取情况，奖学金情况，地理位置等做出合理的选校决定。这一步是需要大量的搜集、整理工作和多年的选校经验才能够顺利完成的。很多本来可以去前20名学校的同学，因为信息闭塞、定位不准，最后只申请到100名左右的学校，这是非常可惜的。啄木鸟凭借多年的行业经验和对每一个学生负责的精神，在与你有了良好的沟通互动后，根据我们系统的分析和历史数据库为你进行合理明确的个人定位。

五、申请文书
申请文书（PS）是申请中非常重要的一环。通过申请文书，教授可以看到你这个人是不是就是他所需要的。如果我们把申请比作找工作，教授比作老板，那么申请文书就是你的工作能力证明。如果不能够在申请文书中充分展示并且这种展示没能投教授之所好的话，你的申请就注定是失败的。一篇合格的、有用的PS的出炉需要经过1、2个月甚至更多时间的反复修改、沟通、再修改的过程。可以说这样的PS是字字珠玑，没有一句废话，紧密的为你的申请目标而服务。
(关于申请文书的要点见陈起永老师的文章“文书写作指导”)

六、套词
套词又称陶瓷、套磁，无定例，谐音即可。指的是在申请的时候通过E-mail或者电话和被申请的教授联系。套词的目的主要有两个方面：一是让教授更加了解你，给教授留个好印象，增加你被录取的机会；二是让你更了解教授和他的研究方向，以便在日后决定是否接受Offer的时候有更多的参考依据。这样看来，成功的套词对于申请人和被申请人都是有利的。但很多同学认识到了套词的重要性却不知道如何正确的套词，都喜欢发一堆邮件给申请的教授，而邮件的内容却和教授的研究方向无关，这样的套词不套也罢。正确的套词是建立在对教授和他研究方向的了解的基础上的，而且你要确定你所写的内容可以让教授感兴趣而不只是简单的问候。如果套词成功了，那么你被录取的机会就会大大增加。不过，套词还是要以实力为后盾，否则是不会成功的。

求职面试的六大自杀式回答

2009-03-12T22:10:00.000-07:00

１.自杀式一：奋不顾身　　

　　请简单介绍一下你自己：　　

　　我是一个很普通的人…… 　　

　　给你一个机会，就是让你证明自己的优秀的！每一个都有闪光点，关键是你如何寻找。但是这样的回答让人觉得你连想都不想. 　　

　　请简单介绍一下你自己：　　

　　我今天准备得不太好…… 你的意思是：我还可以更好的。面试官听到的意思是：没准备好还来干嘛，太不尊重我啦！（当年在新东方培训教师的时候，每当我听到这句话，我们就说：那请你准备好再来，不要浪费大家的时间……）

２.自杀式二：天花乱坠　　

　　说说你的优点：　　

　　（用一种熟练无比的不过大脑的声调）我团结同学、尊重老师、热爱生活、兴趣多样，积极主动…… 　　

　　中国教育很多要求就是变态的，比如严肃活泼，在我看来就是典型的精神分裂。我自己在面试期间，最郁闷的就是看到那些云集了中华文明5000年所有传统文化的人。优点不是越多越好，而是越真实和独特越好。很难想象一个人如何可以“团结同学”同时“独立研究，刻苦钻研”还要“积极投身社团”。什么优点都有的人 = 没有优点　

　　３.自杀式之三：我要学习　　

　　你希望通过这份工作获得什么呢？　

　　我希望通过这份工作锻炼自己，提升自己的能力。　

　　同学，公司又不是学校，是希望你过来干活的，学习的目的也是更好的工作。你居然准备拿我们的工作机会练手和锻炼自己？我们还是找一些更靠谱的人吧。

４.自杀式之四：前途钱途　

　　你还有什么问题么？

　　

我想问一下工资大概是多少？还能高些么？　

　　一般来说，工资完全可以在公司的网站、一般的行业网站找到。或者私下沟通。在大公司面试的时候问这个问题不太合适。因为很多HR会认为，就业是一种双向选择，你还没有展示你的能力呢？我凭什么买你？　　建议可以在基本意向确定以后再问。当然，就这个问题，有不同意见。有人还建议说当场问显得自己很有信心。在职人士的话，一定要谈薪酬。　

　　５.自杀式之五：我会努力！　　

　　你会如何面对你的新工作？　

　

（眼神坚定，满脸通红）我会认真努力，尽全力做好。　

　　商业社会，态度不等于能力。不管你是全力以赴还是认真努力，没有达到目标，也是无用。不管你是心不在焉还是，只要最后达到了公司要的结果，那就是好员工。　　你可以尝试提供你准备的具体的行动步骤和目标，否则这个问题基本等于没有回答。　

　　６.自杀式之六：我应该　

　　如果你给一份……的任务，你会怎么做？　

　

我应该能够做好…… 　

　　我应该能够做好，反过来说就是：做不好也不怪我吧！

　　企业是用结果说话的，应该做好…… 那还有应该做不好地方怎么办？这是一个责任心的测试。但是“应该”者失败了。

　　你可以尝试谈谈，你会怎么做。如果做到你会怎么样，如果做不到，你会如何调整。保证在DEADLINE前获得底线结果。

some pieces of advice

2009-03-12T07:04:00.000-07:00

中国制造之痛，我本人不知道它有没有获奖，其实一个市级的评比，精品还是非常有限的。所以我个人觉得是采取肯定和批判兼有的态度。可以借鉴监看，不过每段最好有引起统领的语句。

我个人感觉，复兴之路比伟大历程要好看，不过还是可以借鉴复兴之路的角度，但也肯定有新的角度，这个要靠你自己发现了。通常，那些让你印象深刻的点，都可能成为剖析的角度。

比较的成分要多一些，因为它们有可比性。

gws

2009-03-12T05:54:00.001-07:00

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Capitulate surrender annihilation
Caprice whim
Capricious fickle course
Caption
Captious faultfinding frivolous constructive
Carafe decanter patron
Carapace crab perch enclosure
Carat mount band
Carcinogenic supposedly reveal
Cardinal
Cardiologist ailment pediatrician heart murmur
Careen lurch sway taxicab
Caricature distortion burlesque
Carillon pavilion
Carnage the killing fields depict wreak pol pot
Carnal fleshly
Carnivorous hunk gore
Carousal revel chugging contest degenerated
Carping petty constructive
Carrion buzzard scavenger predator
Cartographer fictional
Cascade detour torrent
Caste hereditary hindu stratification prestige wipe out prevail
Castigation sensitive playwright vice hypocrisy
Casualty automotive
Cataclysm deluge upheaval
Catalyst agent enzymes ripening ira split faction disavow terrorist provisional unification
Catapult slingshot hurling
Cataract awe mighty niagara
Calamity strik
Catcall boo pitcher hiss
Catechism instruction engage
Categorical unqualified denial
Catharsis purging cleansing aristotle
Camouflage conceal cloak bandit
Canard fabricated report infidelity vile descend cliché
Candor slapp candid
Canine berkeley outnumber
Canker ulcerous sore politic
Canny shrewd thrifty scotsman swindler
Canon authoritative scripture hotly shakespearean
Locality diregard rebel katya constitutionally incapable abide
Cant piety jargon extramarital dismiss sacredness hypocrisy
Cantankerous irritable hospital
Cantata
Canter gallop outdistance
Canto dante the divine comedy
Canvass sentiment constituent
Capacious spacious
Accommodate tronics market
Capillar bore tension vessel

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Bohemian oakland bourgeois
Boisterous voilent rough unruly
Bolster reinforce amasse
Bolt bar pin screw slide sort nut
Bolt dash dart off gobble
Bombardment missile demolish
Bombastic pompous inflate puff up conceit orator deflate bombast
Boon reservoir
Boorish insensitive courtesy
Bouillon clear steward
Bountiful graciously needy
Bourgeois connotation resent
Bovine cowlike placid excite preserve
Bowdlerize expurgate motion picture
Boycott refrain pesticide
Brackish saline nauseous
Braggadocio boasting
Braggart boaster modest by
Brandish
Bravado swagger defiance confront brutal
Brawn muscular sturdiness
Brazen insolent contempt
Breach fissure fortification penetrate
Breadth width extent
Brevity conciseness telegram cablegram
Brindled tawny grayish streak spot litter
Bristling btistle irritation
Brittle
Broach in-laws touchy
Brocade figured
Brochure pamphlet
Brooch clasp heirloom
Brook tolerate endure dean interference disciplinary
Browbeat bully intimidate
Browse graze skim verse
Brunt credit peel
Brusque blunt offend
Buccaneer bloody
Bucolic rustic pastoral bleating meadow
Buffet rhymes tray souffle
Buffet slap batter knock about rough
Buffoonery clowning ace ventura hilarious
Bugaboo bugbear baseless scarecrow
Bullion vault fort knox
Bulwark earthwork
Bungle blunder botch bumstead
Buoyant capsize afloat scrambling
Bureaucracy overregulated administrative inernal revenue irs comply reduction
Burgeon forth bud
Burlesque ridicules galaxy quest trek outrageously parodying stiff
Burnish brass fixture
Buttress prop up
Buxom bosomed jolly plump slender
Cabal
Cache loot
Cacophonous discordant tune up racket
Cadaver corpse dissect
Cadaverous corpse ravage
Cadence rhythmic march down sergeant
Cadge mooch panhandle moocher
Cajole coax wheedle cajolery
Calamity
Calculate
Caldron kettle
Cliber menial
Calligraphy penmanship scribe
Callous ward
Callow
Calorific
Calumny malicious slander endure foes heap upon herodotus doubly utter
Camaraderie
Cameo minor role peddler onscreen crack up