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NIKKOR Photoguide
Photo Guide I AM YOUR VIEW Photo is a conceptual image. Enhance your expression with interchangeable lenses Control light and shadow using Speedlights Wide-angle zoom lens Normal zoom lens Telephoto zoom lens High-power-zoom lens Daylight sync Bounce flash DX DX DX DX format format format format AF-S DX NIKKOR 10-24mm f/3.5-4.5G ED AF-S DX NIKKOR 16-80mm f/2.8-4E ED VR AF-S DX NIKKOR 55-200mm f/4-5.6G ED VR II AF-S DX NIKKOR 18-300mm f/3.5-6.3G ED VR Speedlights SB-910/SB700/SB-500/SB-300 Speedlights SB-910/SB700/SB-500/SB-300 (15-36 mm equivalent*1) (24-120 mm equivalent*1) (82.5-300 mm equivalent*1) (27-450 mm equivalent*1) 109° 83° 28°50' 76° DX 61° DX 20° DX 8° DX 5°20' Fixed-focal-length lens Micro lens Fisheye lens Auto FP high-speed sync Advanced Wireless Lighting Fast lens DX Fast lens FX-format DX DX format compatible format format AF-S DX NIKKOR 35mm f/1.8G AF-S NIKKOR 50mm f/1.8G AF-S DX Micro NIKKOR 40mm f/2.8G AF DX Fisheye-Nikkor 10.5mm f/2.8G ED Speedlights SB-910/SB700/SB-500 Speedlights SB-910/SB700/SB-500 (52.5 mm equivalent*1) (When attached to DX-format D-SLR cameras: 75 mm equivalent in 35mm [135] format) (60 mm equivalent*1) (16 mm equivalent*2) DX 44° FX 47° DX 31°30' DX 38°50' DX 180° 2 *1: When converted to 35mm [135] format. -
Estimation and Correction of the Distortion in Forensic Image Due to Rotation of the Photo Camera
Master Thesis Electrical Engineering February 2018 Master Thesis Electrical Engineering with emphasis on Signal Processing February 2018 Estimation and Correction of the Distortion in Forensic Image due to Rotation of the Photo Camera Sathwika Bavikadi Venkata Bharath Botta Department of Applied Signal Processing Blekinge Institute of Technology SE–371 79 Karlskrona, Sweden This thesis is submitted to the Department of Applied Signal Processing at Blekinge Institute of Technology in partial fulfillment of the requirements for the degree of Master of Science in Electrical Engineering with Emphasis on Signal Processing. Contact Information: Author(s): Sathwika Bavikadi E-mail: [email protected] Venkata Bharath Botta E-mail: [email protected] Supervisor: Irina Gertsovich University Examiner: Dr. Sven Johansson Department of Applied Signal Processing Internet : www.bth.se Blekinge Institute of Technology Phone : +46 455 38 50 00 SE–371 79 Karlskrona, Sweden Fax : +46 455 38 50 57 Abstract Images, unlike text, represent an effective and natural communica- tion media for humans, due to their immediacy and the easy way to understand the image content. Shape recognition and pattern recog- nition are one of the most important tasks in the image processing. Crime scene photographs should always be in focus and there should be always be a ruler be present, this will allow the investigators the ability to resize the image to accurately reconstruct the scene. There- fore, the camera must be on a grounded platform such as tripod. Due to the rotation of the camera around the camera center there exist the distortion in the image which must be minimized. -
With Its Focal Length Shorter Than That of the Normal Lens, the Wideangle Lenses Cover an Angle of View of 60° Or More. The
With its focal length shorter than that of the normal lens, the wideangle lenses cover an angle of view of 60° or more. The wideangle lens allows coverage of quite a broad view from a close camera position or photography in constricted areas. It can be effectively utilized in architectural exteriors and interiors and group shots. The wideangle lens is also suited for instant candid work which does not allow precise focusing on fast-moving subjects. Its profound depth of field compensates for inaccurate focusing. Another outstanding feature of the wideangle lens is exaggeration of perspective. This type of lens tends to give an interesting and dramatic effect which is more conspicuous, the wider the angle of lens. Today, "Wideangle Shooting" occupies a unique place in creative photography. Advanced photographers often emphasize the exaggerated perspective known as "wideangle distortion" to accomplish special creative effects. Nikon offers one of the widest selections of outstanding wideangle lenses to meet specific photographic requirements in wide field photography. L-15 20mm f/3.5 Nikl<or-UD Auto Code No. 108-01-105 The concept of optical construction is entirely new. Focal length: 20mm The lens consists of 11 elements in 9 groups, with Maximum aperture: 1 : 3.5 Lens construction: 11 elements in 9 groups back focus 1.87 times longer than the focal length. Picture angle: 94° Thus, the lens can be mounted on the camera with Distance scale: Graduated both in meters and feet up to the mirror in normal viewing position. (There is no 0.3m and 1ft f/3.5 - f / 22 need to lock up the mirror.) Aperture scale: Aperture diaphragm: Fully automatic With this lens, there is almost no need to focus, if Meter coupling prong: Integrated (fully open exposure metering) the diaphragm is closed down slightly. -
Choosing Digital Camera Lenses Ron Patterson, Carbon County Ag/4-H Agent Stephen Sagers, Tooele County 4-H Agent
June 2012 4H/Photography/2012-04pr Choosing Digital Camera Lenses Ron Patterson, Carbon County Ag/4-H Agent Stephen Sagers, Tooele County 4-H Agent the picture, such as wide angle, normal angle and Lenses may be the most critical component of the telescopic view. camera. The lens on a camera is a series of precision-shaped pieces of glass that, when placed together, can manipulate light and change the appearance of an image. Some cameras have removable lenses (interchangeable lenses) while other cameras have permanent lenses (fixed lenses). Fixed-lens cameras are limited in their versatility, but are generally much less expensive than a camera body with several potentially expensive lenses. (The cost for interchangeable lenses can range from $1-200 for standard lenses to $10,000 or more for high quality, professional lenses.) In addition, fixed-lens cameras are typically smaller and easier to pack around on sightseeing or recreational trips. Those who wish to become involved in fine art, fashion, portrait, landscape, or wildlife photography, would be wise to become familiar with the various types of lenses serious photographers use. The following discussion is mostly about interchangeable-lens cameras. However, understanding the concepts will help in understanding fixed-lens cameras as well. Figures 1 & 2. Figure 1 shows this camera at its minimum Lens Terms focal length of 4.7mm, while Figure 2 shows the110mm maximum focal length. While the discussion on lenses can become quite technical there are some terms that need to be Focal length refers to the distance from the optical understood to grasp basic optical concepts—focal center of the lens to the image sensor. -
L E N S E S & a C C E S S O R I
H1-H4 LENSES & ACCESSORIES P. 4 P. 5 P. 6 P. 7 P. 8 Riley Joseph / Canada Ben Cherry / UK Tomasz Lazar / Poland Toshimitsu Takahashi / Japan Zack Arias / U.S.A. Supported by P. 9 P.10 Norifumi Inagaki / Japan Bobbie Lane / U.S.A. P.11 P.12 P.14 P.16 P.18 Christian Fletcher / Australia Bert Stephani / Belgium Tsutomu Endo / Japan Dave Kai Piper / UK Jára Sijka / Czech P.20 P.21 P.22 P.23 P.23 Afton Almaraz / U.S.A. Masaaki Aihara / Japan Chris Weston / UK Gathot Subroto / Indonesia Giulia Torra / Italy Visit these links to learn what the professionals are saying about X mount lenses and X accessories and XF LENS X-Accessories see some of the beautiful results! http://fujifilm-x.com/xf-lens/ http://fujifilm-x.com/accessories/ Specifications are subject to change without notice. For more information, please visit our website: http://www.fujifilm.com/products/digital_cameras/accessories/ c 2015 FUJIFILM Corporation P02-03/P31 The vision of the X Series, the choice for X Series owners A collection of creativity-oriented lenses, which complement the X-Trans CMOS sensor perfectly and eliminate the low-pass filter for ultimate sharpness. XF 50-140mmF2.8 R LM OIS WR P.18 XF55-200mmF3.5-4.8 R LM OIS P.22 XF18-135mmF3.5-5.6 R LM OIS WR P.21 XF16-55mmF2.8 R LM WR P.16 XF10-24mmF4 R OIS P.14 NEW XF90mmF2 R LM WR NEW XF23mmF1.4 R P.12 XF16mmF1.4 R WR P.7 XF18-55mmF2.8-4 R LM OIS P.5 P.20 XF 14mmF2.8 R P.4 XF35mmF1.4 R P.9 XC50-230mmF4.5-6.7 OIS II P.23 XF56mmF1.2 R APD P.10 XF 18mmF2 R XF56mmF1.2 R P.6 P.10 M Mount Adapter XF 27mmF2.8 P.25 P.8 XF60mmF2.4 R Macro P.11 MCEX-16 P.25 XC16-50mmF3.5-5.6 OIS II P.23 MCEX-11 P.25 X Accessories P.25 P04-05/P32 X-T10 : F16 1/125 sec. -
LENSES There Is Something Magical About the Image Formed by a Lens
LENSES There is something magical about the image formed by a lens. Surely every serious photographer stands in awe of this miraculous device, which approaches ultimate perfection. A fine lens is evidence of a most advanced technology and craft. We must come to know intuitively what our lenses and other equipment will do for us, and how to use them. ~ Ansel Adams LENSES A pinhole is the simplest way to form an image. A pinhole creates a very soft focused, diffused image that is often aesthetically pleasing. Pinhole cameras can be very complex or very simple in construction. ~ Ansel Adams LENSES Focal Length When choosing a camera you must also choose the appropriate lens for whatever subject matter you will be photographing. Lenses come in a wide variety, not only in focal length but also in price. Purchasing the right lens can be difficult if you don’t understand some basic terminology: Focal Length is what gives lenses their names (wide, telephoto, zoom, etc). The focal length is defined as a distance from the center of such a convex element (principle point) to the focal point (image plane) and it is one of the most decisive factors that determines the characteristics of a lens. When purchasing a lens we recognize the focal length of the lens sometimes by its physical length, but mainly by the number designated. For example: 50mm, 85mm, 200mm, 70-200mm, etc. The focal length is usually the first decision to make in purchasing a lens. Focal Length LENSES One of the greatest advantages to purchasing a digital SLR camera is the fact that you can purchase a wide variety of lens for every purpose. -
CATALOGUE the Lens Makes the Photograph
LENSCATALOGUE The Lens Makes the Photograph At the heart of photography meshing with the photographer’s Tools of inspiration a well established category in its own product development and R&D efforts Supported by this highly adaptable desire to capture the perfect shot. and imagination right. But at the time, “wide angle” are based on a policy of in-house system, Sigma’s unconventional Ever since Sigma’s founding, meant a prime lens, and nobody even development for the key technologies manufacturing approach focuses on we have always believed that a photo More options for At times we have ventured to introduce considered the need for variable that we consider most important. continuous improvement of advanced is only as good as the lens. It follows more photographers products for which there was no focal length. That Sigma saw things processing and fabrication technology, that choosing a new lens opens up precedent. Many of these world’s firsts, differently and had the technology to For our lenses, we not only design while creating greater freedom of design fresh possibilities for photographic Given a wide variety of optically we are proud to say, have revealed new create a new genre is a true reflection of the optics and mechanisms, but also through novel solutions to challenging expression. This philosophy has superior lenses, the photographer can dimensions for photographic exploration our inventive spirit regarding the tools the firmware, electronic circuits and optics issues. inspired Sigma’s quest for select the one that will best achieve and contributed to the very culture of of photography. -
The Camera Versus the Human Eye
The Camera Versus the Human Eye Nov 17, 2012 ∙ Roger Cicala This article was originally published as a blog. Permission was granted by Roger Cicala to re‐ publish the article on the CTI website. It is an excellent article for those police departments considering the use of cameras. This article started after I followed an online discussion about whether a 35mm or a 50mm lens on a full frame camera gives the equivalent field of view to normal human vision. This particular discussion immediately delved into the optical physics of the eye as a camera and lens — an understandable comparison since the eye consists of a front element (the cornea), an aperture ring (the iris and pupil), a lens, and a sensor (the retina). Despite all the impressive mathematics thrown back and forth regarding the optical physics of the eyeball, the discussion didn’t quite seem to make sense logically, so I did a lot of reading of my own on the topic. There won’t be any direct benefit from this article that will let you run out and take better photographs, but you might find it interesting. You may also find it incredibly boring, so I’ll give you my conclusion first, in the form of two quotes from Garry Winogrand: A photograph is the illusion of a literal description of how the camera ‘saw’ a piece of time and space. Photography is not about the thing photographed. It is about how that thing looks photographed. Basically in doing all this research about how the human eye is like a camera, what I really learned is how human vision is not like a photograph. -
DEPTH of FIELD Depth of Field Is Simply the Area in Front of Your Camera Where Everything Looks Sharp and in Focus
DEPTH OF FIELD Depth of field is simply the area in front of your camera where everything looks sharp and in focus. For example, if you're focused on somebody standing 10 feet in front of the camera, your depth of field might be from 8 feet to 14 feet. That means objects falling within that area will be Large Aperture = Less Depth Of Field acceptably-sharp and in focus; objects falling outside the area will be soft and out of focus. DEPTH OF FIELD Small Aperture = Greater Depth Of Field Next: Your depth of field increases as your subject gets farther from the camera. The farther away the subject, the more depth of field; the closer the subject, the less depth of field. There are several important things to know about depth of field. First is this: Your depth of field decreases as you increase your focal Length. In other words, with a Disatant Subject = Greater Depth of Field telephoto lens you have a much shallower area in focus than with a normal lens. That's why with a zoom lens, you zoom in to telephoto for focusing--it makes it easier to see the exact point where your subject is sharpest. Close Subject = Less Depth of Field Finally: You always have less depth of field in front of Telephoto = Less depth of field your point of focus than behind it. This is especially noticeable at distances of 25 feet or less. At these near The next thing to know is: Your depth of field increases distances, you can usually figure on your depth of field as you decrease your focal length. -
I Am Your Eyes
I AM YOUR EYES www.nikon-asia.com See Through Different Eyes Every photographer is unique. Whatever your ideas, experience or creative vision, there is a NIKKOR lens to draw out your potential. Each product in the lineup represents the pride and craftsmanship that only an optical manufacturer can understand, delivering a level of clarity and reliability that every passionate photographer can appreciate. How will you see the world? Let NIKKOR help. Capture more. Create more. Wide-Angle Zoom NIKKOR Lenses ................... p4-p9 Normal Zoom NIKKOR Lenses ....................p10-p21 Telephoto Zoom NIKKOR Lenses ................................p22-p26 Fixed Focal-Length NIKKOR Lenses .............p27-p45 Special-Purpose NIKKOR Lenses .............p46-p48 Optional Accessories ............................................................. p49 NIKKOR Technology .......................................... p50-p53 Specifications ................................................ p54-p55 Wide-angle zoom Normal zoom Normal Telephoto zoom Ading Attamimi Fixed focal length © AF-S NIKKOR 16-35mm ED f/4G VR Sharp, ultra-wide-angle zoom with VR This versatile ultra-wide-angle zoom covers a remarkably broad range, with Vibration Reduction (VR) that provides an effect equivalent to a shutter speed 2.5 stops* faster to enable blur-free handheld images at slower shutter speeds in places such as interiors and night scenes. Ideal for travel and Lens construction: 17 elements in 12 groups Minimum focus distance: 0.28 m/0.9 ft (in 20-28mm) Special purpose AF-S NIKKOR 16-35mm f/4G ED VR documentary work. Maximum reproduction ratio: 0.24× Filter-attachment size: 77 mm * Based on CIPA Standard. This value is achieved when attached to an FX-format digital SLR camera, with zoom set at the maximum Accessories: Hood HB-23 / Case CL-1120 telephoto position. -
141 Midterm Review
141 midterm review FILM EXPOSURE Short or Wide-angle Lenses Exposure is controlled by: 1. Common wide angle lenses for a 4x5 1. f/stop (or aperture) located in the lens view camera: 90mm and 75 mm 2. Shutter speed. The shutter is: 2. Give a wider angle of view than a normal lens. a. located in the camera body on a 3. Have more depth of field than longer lenses. 35mm single-lens reflex 4. Increased feeling of space. b. located in the lens on a 4x5 view camera The B setting holds the shutter open for as long as Long or Telephoto Lenses: the shutter release is held. 1. Common long lenses for a 4x5: 210mm, 300mm The X setting on the shutter is for electronic flash 2. Give a narrow angle of view. synchronization, M is for flash bulbs. 3. Are generally slower than wide lenses. The T setting is for long exposures. Pressing the 4. Less depth of field than shorter lenses. shutter once on T opens the shutter, 5. Compress space. pressing it again closes the shutter. DEPTH OF FIELD- The area of the image Equivalent exposures are adjustments made to in front and back point of focus, that falls within shutter speeds or f/stops which change a visual acceptable focus. effect without altering film or print density. Example: Depth of field (DOF) is determined by: changing from f8 at 1/125 to f11 at 1/60, increases 1. F/stop (smaller apertures increase DOF) the depth of field in the scene while maintaining an i.e. -
L E N S E S & a C C E S S O R I
P. 4 P. 5 P. 6 P. 7 Scott Grant / Hai Tre / Jeff Carter / Gathot Subroto / Canada Vietnam UK Indonesia P. 8 P. 9 P.10 Matt Hart / Bert Stephani / Max De Martino / UK Belgium Italy P.11 P.12 P.13 P.14 Omar Z Robles / Simone Sbarglia / Pål Laukli / LS Trung / U.S.A. Italy Norway Vietnam P.15 P.16 P.17 Yonghui Wang / Supalerk Fabian De Backer / China Narubetkrausee / Belgium Thailand P.18 P.19 P.20 Taeyoung An / Joe Ng / Chalit Padoongcheep / Korea Canada Thailand P.21 P.21 Torwong Salwala / Giulia Torra / Thailand Italy Cover_P.2-3 Jonas Dyhr Rask / Denmark Specifications are subject to change without notice. LENSES & ACCESSORIES For more information, please visit our website: http://www.http://fujifilm-x.com/en/accessories/ c 2016 FUJIFILM Corporation P2-3/P36 The vision of the X Series, the choice for X Series owners A collection of creativity-oriented lenses, which complement the X-Trans CMOS sensor perfectly and eliminate the low-pass filter for ultimate sharpness. X Mount Lenses _ P.4-21 Accessories _ P.23-29 Technology _ P.30-33 Specifications _ P.34-35 2 3 P4-5/P36 XF14mmF2.8 R XF16mmF1.4 R WR X-T2 : F11 1/4 sec. ISO200 Scott Grant / Canada High resolving power across the frame from the centre to the edges. This ultra-wide-angle lens, which has a diagonal angle of view greater than 90°, produces extraordinary images. Distortion has been kept to a measured value of zero, with sharpness right across the frame, even when the subject is near the edges.