Notes on View Camera Geometry∗
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The Time-Lapse Holy Grail
Granite Bay Software The Time-lapse Holy Grail www.granitebaysoftware.com The Time-lapse Holy Grail How to use GBTimelapse with Autoramp For Expert Users – and the curious! By Mike Posehn, Ph.D., aka Dr. Timelapse A great time-lapse is all about change and movement. However, changing light conditions often wreak havoc on your footage, resulting in brighter and darker frames which appear as annoying flicker in your time-lapse. Capturing a smooth time-lapse of a sunset from full daylight to darkest night, without flicker, has been called the “Time-lapse Holy Grail” because it has been practically impossible to achieve. However, you can now achieve this Holy Grail with GBTimelapse! In this White Paper, I describe the challenge of The Time-lapse Holy Grail and take you through the process of getting it with GBTimelapse. GBTimelapse has been used for National Geographic videography, the Brazil 2016 Summer Olympics preparations, Thursday Night Football network footage, and much, much more. GBTimelapse is a powerful tool that gives you control over many factors of your time-lapse capture. This White Paper will give you examples of the high tech calculations going on under the hood, what factors you can modify, and ideas for how to use GBTimelapse to best suit your needs. Granite Bay Software The Time-lapse Holy Grail www.granitebaysoftware.com Table of Contents Skip straight to the Holy Grail How-To, Expert Method and Easy Expert Method sections to get right to work. Or, browse through the full paper to get into technical detail. The Time-lapse Holy Grail Table of Contents 1. -
Diana Rebman, Photographer
Foto FanFare Newsletter June 2013 www.n4c.org & n4c.photoclubservices.com N4C Incorporated 1952 [email protected] Mark your Calendars for these upcoming events! Q.T. Luong National Parks Project Contra Costa CC May 30 7:15pm 2013 PSA International Conference September 15 – 21 N4C Calendar June 2013 10 -Board Meeting 7:30pm First Methodist Church Highly HonoredAward! 1600 Bancroft, San Leandro 15 – Competitions Judging Nature’s Best Wildlife Competition! Contact Gene Albright for PI location [email protected] Diana Rebman, Photographer Contact Gene Morita or Joan Field for Print location This photograph of a female Mountain Gorilla rolling her Gene Morita, [email protected] eyes at me was taken in Rwanda in Aug 2011. It was awarded Joan Field, [email protected] 16 – Happy Father’s Day!!! "Highly Honored" in the Endangered Species category of the July 2013 Nature's Best Photography competition. 4 – Happy 4th of July!!! It has also been selected to be included in the Smithsonian 8 -Board Meeting National Museum of Natural History in Washington, DC "Windland 7:30pm First Methodist Church Awards" exhibit. The show will hang from June 7, 2013 through 1600 Bancroft, San Leandro 20 – Competitions Judging early 2014. Contact Gene Albright for PI location I encourage anyone visiting Washington, DC to stop by and [email protected] see this exhibit. The images are stunning! Contact Gene Morita or Joan Field for Print location Congratulations Diana Rebman! Gene Morita, [email protected] Joan Field, [email protected] Berkeley Camera Club CONTRA COSTA CAMERA CLUB ED NIGHT Q.T. Luong is a full-time freelance nature and travel photographer from San Jose. -
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. -
Large Format Camera
Large format Camera Movements and Operation Presented by N. David king 619-276-3225 © N. David King All rights Reserved Large Format Camera Movements and Operations Page 1 COURSE CURRICULA he Large format camera, in “View” and “Field” versions, are the T primary tool for many of the commercial/professional photographic disciplines. Especially for product, advertising, illustration, and high-end fashion and portraiture work, as well as for landscape and nature photography this workhorse camera is the tool selected whenever the ultimate in quality is required. This course will teach the rudiments of using this tool to control and enhance the image. Why Large Format Large format cameras shooting a negative in the 4”x 5” size and larger are cumbersome to carry and slow to set up. So why would a working photographer with deadlines to meet, bother? The answer is in the resulting image quality and image control. No other photographic tool, including digital post acquisition image manipulation, provides the degree of control and quality available in this format. Even where the image will be manipulated after acquisition by traditional airbrushing, darkroom techniques, or via digital editing, the old rule of thumb still applies: the better the original image, the better the results will be. Course Objectives After successfully completing this course. The student will be able to set up and operate a large format camera and use its optical and film plane movements to control the distortion and depth of field of their photographs. Course Elements The complete course will contain: 1. An instructor-led lecture and demonstration, 2. -
Reveni Labs Light Meter User Manual and Operating Instructions Revision: 4 Date: 2020-04-16
Reveni Labs Light Meter User Manual and Operating Instructions Revision: 4 Date: 2020-04-16 Revision: 4 – 2020-04-16 Layout and Features Key Features • Ambient reflective metering • Single LR44 battery • Integrated flash/accessory • EV Display feature shoe mount • 45-degree cone sensor field • Bright and crisp OLED of view display • Left and right lanyard/strap • Simple controls and menu holes • Aperture or Shutter priority • Dimensions: 0.92(22.5) x mode 0.86(21.8) x 0.71(17.8) • Exposure compensation in inches(mm) 1/3 stops (-2 to +2 stop • Weight: 9g incl. battery range) Technical Data • Shutter speed range 1hr – 1/8000th sec in 1 stop • Aperture range increments • Film ISO range F0.7 – f1024 in 1 stop increments ISO 1 – ISO 12800, see “Setting Film ISO” for full list • EV Range: EV 2 – EV 19.5 in 0.1EV increments (@ISO 100) Page 2 of 14 Revision: 4 – 2020-04-16 Getting familiar with your meter The Reveni Labs Light Meter is intended for easy attachment to the top of a camera via the flash/accessory “hot/cold” shoe mount. This is a common feature on top of many cameras made in the past 100 years. The precise dimensions of the shoe vary from camera to camera so if initially if the fit of your meter is tight, it will “wear” slightly over the first several uses and become more free-moving. This is not a problem as there are integrated lever springs to ensure the meter does not fall out of the camera mount. -
Basic View Camera
PROFICIENCY REQUIRED Operating Guide for MEDIA LOAN CALUMET 4X5 VIEW CAMERA Media Loan Operating Guides are available online at www.evergreen.edu/medialoan/ View cameras are usually tripod mounted and lend When checking out a 4x5 camera from Media Loan, themselves to a more contemplative style than the more patrons will need to obtain a tripod, a light meter, one portable 35mm and 2 1/4 formats. The Calumet 4x5 or both types of film holders, and a changing bag for Standard model view camera is a lightweight, portable sheet film loading. Each sheet holder can be loaded tool that produces superior, fine grained images because with two sheets of film, a process that must be done in of its large format and ability to adjust for a minimum of total darkness. The Polaroid holders can only be loaded image distortion. with one sheet of film at a time, but each sheet is light Media Loan's 4x5 cameras come equipped with a 150mm protected. lens which is a slightly wider angle than normal. It allows for a 44 degree angle of view, while the normal 165mm lens allows for a 40 degree angle of view. Although the controls on each of Media Loan's 4x5 lens may vary in terms of placement and style, the functions remain the same. Some of the lenses have an additional setting for strobe flash or flashbulb use. On these lenses, use the X setting for use with a strobe flash (It’s crucial for the setting to remain on X while using the studio) and the M setting for use with a flashbulb (Media Loan does not support flashbulbs). -
Datenbank Kameras
Hersteller Kameraname Objektiv Verschluß Verschlußzeit Format Blende Filmtyp Zustand Baujahr Gewicht Tasche Toptron Microcam fashon 3 3PAGEN Versand Supercolor NoName ca. 11/20mm Zentral ca. 1/30 sec. 13 x 17 mm ca. 11 110er Kassette A-B 2000 70 Gramm Nein Adox 300 Schneider Kreuznach Xenar 2,8/45 mm Compur Rapid B, 1 - 1/150 sec. 24 x 36 mm 2,8 - 22 35er Kleinbildfilm C 1956 870 Gramm Ja Adox Golf 63 Adoxar 6,3/75 mm Vario B, 1/25 - 1/200 sec. 6 x 6 cm 6,3 - 22 120er Rollfilm C-D 1954 520 Gramm Ja Adox Fotowerke Frankfurt a. M. Adoxon 2,8 / 45 Adox Golf Ia mm Prontor 125 B, 1/30 - 1/125 sec. 24 x 36 mm 2,8 - 22 35er Kleinbildfilm B 1964 330 Gramm Ja Adox Polo mat 1 Schneider Kreuznach Radionar L 2,8/45 mm Prontor 500 LK B, 1/15-1/500 sec. 24 x 36 mm 2,8 - 22 35er Kleinbildfilm C 1959 - 60 440 Gramm Nein Adox (Wirgin) Adrette I Adox Wiesbaden Adoxar 4,5/5 cm Vario B, T, 1/25-1/100 sec. 24 x 36 mm 4,5 - 16 35er Kleinbildfilm C 1939 420 Gramm Ja Agfa Agfamatic easy Agfa Color Apotar 26 mm Zentral Auto 13 x 17 mm Auto 110er Pocketfilm B 1981 200 Gramm nein Agfa Agfamatic Makro Pocket 5008 Agfa Solinar 2,7 Zentral Auto 13 x 17 mm Auto 110er Pocketfilm B 1977 300 Gramm nein Agfa Agfamatic Optima 5000 Set Agfa Solinar 2,7 Zentral Auto 13 x 17 mm Auto 110er Pocketfilm B 1974 510 Gramm nein Agfa Agfamatic Optima 6000 Agfa Solinar 2,7 Zentral Auto 13 x 17 mm Auto 110er Pocketfilm B 1977 320 Gramm nein Agfa Agfamatic Pocket 1000 S Agfa Color Agnar 26 mm Zentral Auto 13 x 17 mm Auto 110er Pocketfilm B 1974 120 Gramm nein Agfa Agfamatic Pocket 2008 Agfa Color Agnar Zentral Auto 13 x 17 mm Auto 110er Pocketfilm B 1975 180 Gramm nein Agfa Agfamatic Pocket 3000 Agfa Color Apotar Zentral Auto 13 x 17 mm Auto 110er Pocketfilm B 1976 300 Gramm nein Agfa Agfamatic Pocket 4008 Agfa Color Apotar Zentral Auto 13 x 17 mm Auto 110er Pocketfilm B 1975 200 Gramm nein Agfa Billy (I) Jgestar 8,8 / ca. -
Depth of Field in Photography
Instructor: N. David King Page 1 DEPTH OF FIELD IN PHOTOGRAPHY Handout for Photography Students N. David King, Instructor WWWHAT IS DDDEPTH OF FFFIELD ??? Photographers generally have to deal with one of two main optical issues for any given photograph: Motion (relative to the film plane) and Depth of Field. This handout is about Depth of Field. But what is it? Depth of Field is a major compositional tool used by photographers to direct attention to specific areas of a print or, at the other extreme, to allow the viewer’s eye to travel in focus over the entire print’s surface, as it appears to do in reality. Here are two example images. Depth of Field Examples Shallow Depth of Field Deep Depth of Field using wide aperture using small aperture and close focal distance and greater focal distance Depth of Field in PhotogPhotography:raphy: Student Handout © N. DavDavidid King 2004, Rev 2010 Instructor: N. David King Page 2 SSSURPRISE !!! The first image (the garden flowers on the left) was shot IIITTT’’’S AAALL AN ILLUSION with a wide aperture and is focused on the flower closest to the viewer. The second image (on the right) was shot with a smaller aperture and is focused on a yellow flower near the rear of that group of flowers. Though it looks as if we are really increasing the area that is in focus from the first image to the second, that apparent increase is actually an optical illusion. In the second image there is still only one plane where the lens is critically focused. -
The Trade-Off Between Image Resolution and Field of View: the Influence of Lens Selection
The Trade-off between Image Resolution and Field of View: the Influence of Lens Selection “I want a lens that can cover the whole parking lot and I want to be able to read a license plate.” Sound familiar? As a manufacturer of wide angle lenses, Theia Technologies is frequently asked if we have a product that allows the user to do both of these things simultaneously. And the answer is ‘it depends’. It depends on several variables - the resolution you start with from the camera, how far away the subject is from the lens, and the field of view of the lens. But keeping the first two variables constant, the impact of the lens field of view becomes clear. One of the important factors to consider when designing video surveillance installations is the trade-off between lens field of view and image resolution. Image Resolution versus Field of View One important, but often neglected consideration in video surveillance systems design is the trade-off between image resolution and field of view. With any given combination of camera and lens the native resolution from the camera is spread over the entire field of view of the lens, determining pixel density and image resolution. The wider the resolution is spread, the lower the pixel density, the lower the image resolution or image detail. The images below, taken with the same camera from the same distance away, illustrate this trade-off. The widest field of view allows you to cover the widest area but does not allow you to see high detail, while the narrowest field of view permits capture of high detail at the expense of wide area coverage. -
A Guide to Smartphone Astrophotography National Aeronautics and Space Administration
National Aeronautics and Space Administration A Guide to Smartphone Astrophotography National Aeronautics and Space Administration A Guide to Smartphone Astrophotography A Guide to Smartphone Astrophotography Dr. Sten Odenwald NASA Space Science Education Consortium Goddard Space Flight Center Greenbelt, Maryland Cover designs and editing by Abbey Interrante Cover illustrations Front: Aurora (Elizabeth Macdonald), moon (Spencer Collins), star trails (Donald Noor), Orion nebula (Christian Harris), solar eclipse (Christopher Jones), Milky Way (Shun-Chia Yang), satellite streaks (Stanislav Kaniansky),sunspot (Michael Seeboerger-Weichselbaum),sun dogs (Billy Heather). Back: Milky Way (Gabriel Clark) Two front cover designs are provided with this book. To conserve toner, begin document printing with the second cover. This product is supported by NASA under cooperative agreement number NNH15ZDA004C. [1] Table of Contents Introduction.................................................................................................................................................... 5 How to use this book ..................................................................................................................................... 9 1.0 Light Pollution ....................................................................................................................................... 12 2.0 Cameras ................................................................................................................................................ -
Calumet's Digital Guide to View Camera Movements
Calumet’sCalumet’s DigitalDigital GuideGuide ToTo ViewView CameraCamera MovementsMovements Copyright 2002 by Calumet Photographic Duplication is prohibited under law Calumet Photographic Chicago IL. Copies may be obtained by contacting Richard Newman @ [email protected] What you can expect to find inside 9 Types of view cameras 9 Necessary accessories 9 An overview of view camera lens requirements 9 Basic view camera movements 9 The Scheimpflug Rule 9 View camera movements demonstrated 9 Creative options There are two Basic types of View Cameras • Standard “Rail” type view camera advantages: 9 Maximum flexibility for final image control 9 Largest selection of accessories • Field or press camera advantages: 9 Portability while maintaining final image control 9 Weight Useful and necessary Accessories 9 An off camera meter, either an ambient or spot meter. 9 A loupe to focus the image on the ground glass. 9 A cable release to activate the shutter on the lens. 9 Film holders for traditional 4x5 film holder image capture. 9 A Polaroid back for traditional test exposures, to check focus or final art. VIEW CAMERA LENSES ARE DIVIDED INTO THREE GROUPS, WIDE ANGLE, NORMAL AND TELEPHOTO WIDE ANGLES LENSES WOULD BE FROM 38MM-120MM FOCAL LENGTHS FROM 135-240 WOULD BE CONSIDERED NORMAL TELEPHOTOS COULD RANGE FROM 270MM-720MM FOR PRACTICAL PURPOSES THE FOCAL LENGTHS DISCUSSED ARE FOR 4X5” FORMAT Image circle- The black lines are the lens with no tilt and the red lines show the change in lens coverage with the lens tilted. If you look at the film plane, you can see that the tilted lens does not cover the film plane, the image circle of the lens is too small with a tilt applied to the camera. -
Intro to Digital Photography.Pdf
ABSTRACT Learn and master the basic features of your camera to gain better control of your photos. Individualized chapters on each of the cameras basic functions as well as cheat sheets you can download and print for use while shooting. Neuberger, Lawrence INTRO TO DGMA 3303 Digital Photography DIGITAL PHOTOGRAPHY Mastering the Basics Table of Contents Camera Controls ............................................................................................................................. 7 Camera Controls ......................................................................................................................... 7 Image Sensor .............................................................................................................................. 8 Camera Lens .............................................................................................................................. 8 Camera Modes ............................................................................................................................ 9 Built-in Flash ............................................................................................................................. 11 Viewing System ........................................................................................................................ 11 Image File Formats ....................................................................................................................... 13 File Compression ......................................................................................................................