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...Houston, Fendell operated the RCA camera from a quarter of a million miles away. With a push of the appropriate button, he could swing it across the mountain-ringed horizon, raise it up to focus on a peak or lower it to peer down Hadley Rille. He could zoom in on the astronauts for a closeup or even adjust the lens opening to compensate for the moon's harsh lighting conditions...

Author: /time Magazine | Title: The Moon: NASA's Captain Video | 8/9/1971 | See Source »

...wide-angle panorama. The camera slowly swept in a full circle around the horizon, enabling the scientists in Mission Control's science support room to take a series of overlapping Polaroid snapshots off their TV monitor, quickly study them for any oddity and then request Fendell to zoom in on it. Such a closeup was called a "NATO," or narrow-angle target of opportunity. While the scientists pored over their pictures, Fendell adroitly mixed his WAPs and NATOs with numerous shots of the moon walkers...

Author: /time Magazine | Title: The Moon: NASA's Captain Video | 8/9/1971 | See Source »

...pressing buttons in front of two monitoring screens, the patrolman can revolve either camera 350° or sweep it up and down through an angle of 120°. Other buttons operate zoom lenses that enable the monitor to swoop in without hesitation on suspicious activities half a mile away from the cameras (which are located two blocks apart). When the patrolman on monitoring duty spots a crime in progress, he can immediately dispatch the nearest squad car to the scene...

Author: /time Magazine | Title: Modern Living: TV Patrol | 5/10/1971 | See Source »

...from a heterogeneous mass of small "cells" or "acts," each of which invents its own peculiar camera-style in contrast to that of its brothers. And within each cell images and sounds struggle within themselves and with each other: dialectics within dialectics. Tracks of the countryside are intercut with zoom-ins on groups and individuals, and set shots of people suddenly zoom-out to include their surroundings: texts and contexts. And documented reality confronts the film apparatus itself: people talk directly into the camera, or they attack it, despise it sullenly, or avoid it in the voyeuristic hand-held sequences...

Author: By Fernando Solanas, | Title: A Film Essay on Violence and Liberation La Hora de los Hornos | 4/16/1971 | See Source »

...Halston's shorties for yacht wear, to career girls like Celanese Fabric Coordinator Jacquie Nelson, whose bosses last week granted her permission to wear her knit shorts to work. Bloomingdale's department store ran a hot-pants advertisement this month, only to discover that the resulting zoom in sales was partly due to a cross-town rush by Seventh Avenue manufacturers intent on snapping up a pattern, the better to start their own lines...

Author: /time Magazine | Title: Modern Living: Hot Pants: Legs Are Back | 2/1/1971 | See Source »

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