DOCSLIB.ORG

Photography Basics – Understanding Exposure, Aperture, Shutter Speed

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Understanding Exposure – Aperture, Shutter Speed, and ISO Copyright © 2014 Nature Photography Simplified All Rights Reserved If you like the content of the eBook, feel free to share this link with your friends and family members http://www.naturephotographysimplified.com/free-ebook-15-incredible- bird-photography-tips-beginners/ This is for your Personal Use only. Please do not alter any of its content. Thanks for your understanding. www.naturephotographysimplified.com http://www.naturephotographysimplified.com Page 2 Understanding Exposure – Aperture, Shutter Speed, and ISO Photography Basics – Understanding Exposure, Aperture, Shutter Speed, and ISO Many photographers think that understanding Exposure is the toughest aspect in photography. Several people may shy away from a DSLR because they have to understand some of the alien terms like Aperture, Shutter Speed, ISO, etc. The reality is that understanding these key concepts is easy and fun. It requires a bit more time and patience to understand it in depth. Aperture, Shutter Speed and ISO are the basic building blocks of photography. If you understand how each of them work together to get an optimal exposure, you will enjoy your photography to the fullest. To make the camera see the way we see is the most difficult aspect in photography. But, as we understand more about the exposure, we will be able to make the camera see what we want it to see. We all know that we see the world through our eyes with the help of light. When there is absolutely no light, then we do not see anything. In a way, our eyes are exposed to light to form a picture in our brain through which we perceive/understand our world. A photograph is made when the lens (or eyes) bends the light onto the sensor (or brain) to form a photograph (or picture). Exposure Exposure, in simple terms, means how much time the camera sensor is exposedto the light to make a photograph. The amount of light passing through the lens opening (Aperture) for a specified duration of time (Shutter Speed) for which the camera sensor is open is called the Exposure. http://www.naturephotographysimplified.com Page 3 Understanding Exposure – Aperture, Shutter Speed, and ISO Exposure is essentially a combination of Aperture, Shutter Speed, and ISO. To keep the matters simple, let us concentrate only on Aperture and Shutter Speed and keep the ISO for later articles. Here is a simple equation for exposure: Exposure = Aperture + Shutter Speed + ISO We will go through each of these core concepts Aperture, Shutter Speed, and ISO in detail in the upcoming articles. A properly exposed photograph will contain proper color information and all the details that are present in the actual scene. A photographer’s life is so much easier in today’s digital world due to histograms. You can see if the exposure is correct or not by looking at the histograms. However, the knowledge of exposure will enable you to achieve optimum exposures to fulfill the artistic needs and to achieve creative results. Underexposure If the amount of light passing through the lens opening for duration of time when the camera sensor is open is less than optimal, then it is called underexposure. The underexposed photograph will look darker than the real scene. Underexposed photographs usually lack details in the shadow regions resulting in the crushed blacks. The histogram of such photographs, show the distribution towards the left most side with some clipped blacks. http://www.naturephotographysimplified.com Page 4 Understanding Exposure – Aperture, Shutter Speed, and ISO This photograph of a Great Egret is severely underexposed throwing the background very dark. We see crushed blacks in several parts of the photograph. The histogram shows the clipped blacks indicating an underexposed photograph Overexposure If the amount of light passing through the lens opening for duration of time when the camera sensor is open is more than optimal, then it is called overexposure. The overexposed photograph will look brighter than the real scene. Overexposed photographs usually lack details in the highlight regions resulting in the washed out details. The histogram of such photographs, show the distribution towards the right most side with some clipped whites. http://www.naturephotographysimplified.com Page 5 Understanding Exposure – Aperture, Shutter Speed, and ISO This photograph of a Chipmunk is overexposed as well as underexposed portions. Upper right half of the background is completely overexposed showing no details. Histogram shows the clipped highlights in the right hand side of the graph Optimal Exposure If the photograph looks closer to reality, then the exposure is optimal. As photographers we may decide to either expose and develop the photograph to depict the reality or to depict our artistic vision. The Belted Kingfisher photograph has the optimum exposure. This is also indicated with the nice distribution of the histogram without any clipping on either end http://www.naturephotographysimplified.com Page 6 Understanding Exposure – Aperture, Shutter Speed, and ISO Exposure Range or Dynamic Range Every camera possesses an exposure range or dynamic range that depicts its capability to collect the light information. This light information is later converted to a suitable form to represent a photograph. In simple terms, an exposure or dynamic range is nothing but the lowest and the highest exposure a camera can record in a given scene. Or the darkest and the brightest details a camera can record in a given scene. Dynamic range may vary from camera to camera based on how much light the sensor can hold. The larger the sensor and its pixel size, greater the dynamic range, since it can capture higher amount of light. For example, consider a camera that has 5-stops dynamic range. Suppose, the main subject needs an aperture of f/11 (with constant shutter speed of 1/125th of a second), then everything in the scene that requires an aperture of f/5.6 to f/22 will be represented properly. Anything below f/5.6 will result in pure black and anything above f/22 will result in pure white. Note: The Shutter Speed and ISO are assumed to be constant Let us understand the dynamic range using Shutter Speed instead. Suppose, the main subject needs a shutter speed of 1/125th of a second (with constant aperture say f/11), then everything in the scene that requires a shutter speed of 1/30th to 1/500th of a second will be represented properly. http://www.naturephotographysimplified.com Page 7 Understanding Exposure – Aperture, Shutter Speed, and ISO Anything below 1/30th of a second will result in pure black and anything above 1/500th of a second will result in pure white. Note: The Aperture and ISO are assumed to be constant I have considered a 2-stop lower and 2-stop higher than the normal for the sake of explanation. In reality, the film cameras (or negatives) usually tend to preserve more details in the brighter regions than the darker regions. The digital cameras tend to preserve more details in the darker regions than the brighter regions. http://www.naturephotographysimplified.com Page 8 Understanding Exposure – Aperture, Shutter Speed, and ISO How to achieve optimum Exposure for different scenes Let us examine how we can find the optimum exposure for various scenarios that we encounter on day to day basis. How to Achieve Optimum Exposure for a High-key Scene A high-key scene contains lower dynamic range than a good consumer/pro camera can handle. There will be a uniform distribution of light in the high-key scene. Foggy, rainy and cloudy days usually lead to high-key scene since most of the scene will be equally lit. High-key scene usually contains the uniform lighting, yielding to lower Dynamic Range Consider our 5-stop dynamic range camera for example. Assume that we are photographing a waterfall on a cloudy day. It is a well distributed light and mostly the scene is having two dominant colors, white and green. If you meter the waterfalls, then the metering may indicate an f/11 as in our example study. So, we have a dynamic range of f/5.6 to f/22. But as you know, waterfall is the brightest element in the entire scene. There is no subject/object at f/16 and f/22. However, we would have lot of details in the green area or the surroundings. If the shadow regions need a smaller aperture than f/5.6, you will have those region turn to black. If you happen to expose the scene with f/11 aperture, then you would end up with a darker or an underexposed image. http://www.naturephotographysimplified.com Page 9 Understanding Exposure – Aperture, Shutter Speed, and ISO This is the time, when you have to make a decision as a photographer to utilize the opportunity to come up with an optimum exposure. Misty morning scene in Blue Ridge Parkway yields to a high key lighting. The histogram shows that the dynamic range of the entire scene is limited and can be captured easily. Note that I have exposed the scene to the right of the histogram If you decide to expose the waterfalls at f/5.6 by using exposure compensation of +2, then you will get a 4-stop dynamic range (f/2.8 to f/8) to represent the shadow region or the surrounding. This technique is also called as ETTR (Expose To The Right). In this process, we are opening up the aperture by 2 stops and allowing more light to pass through the lens. http://www.naturephotographysimplified.com Page 10 Understanding Exposure – Aperture, Shutter Speed, and ISO This way you will have a virtually greater dynamic range to represent the entire region in a much more pleasing way leading to an optimum exposure.
Recommended publications
  • Nature and Photography in Texas

    Nature and Photography in Texas

    101_naturephotography.qxp:Layout 1 9/22/09 10:33 AM Page 1 Resources Principles of Ethical ® Life’s better outside. BOOKS: Field Practices Addison­Wesley Publishing Company. 1991. By the editors of Eastman Kodak Company. The Joy of Photography. ENVIRONMENTAL: KNOWLEDGE OF SUBJECT TDO Bauer, Erwin and Peggy Bauer. 1985. Photographing wild Texas. OU O AND PLACE R University of Texas Press, Austin. 112 pp. Learn patterns of animal behavior. Know when not to Hill, Martha and Art Wolfe. 1993. The art of photographing interfere with animals’ life cycles. nature. Crown Publishers, NY. 184 pp. Nature Kiefer, John. 2006. Mastering Nature Photography: Respect the routine needs of animals. Remember that Shooting and Selling in the Digital Age (paperback). others will attempt to photograph them, too. Allworth Press, 288 pp. Use appropriate lenses to photograph wild animals. Lepp, George. 1997. Beyond the Basic II: More Innovative Photography If an animal shows stress, move back and use a Techniques for Outdoor/Nature Photography (paperback). longer lens. Lepp and Associates, 162 pp. IN TEXAS Miotke, Jim. The BetterPhoto Guide to Digital Nature Acquaint yourself with the fragility of the ecosystem. Photography (paperback). Amphoto Books, 224 pp. Stay on trails that are intended to lessen impact. Morris, Arthur. 2003. Art of Bird Photography: The Complete Guide to Professional Field Techniques (paperback). Amphoto SOCIAL: KNOWLEDGE OF RULES AND LAWS Books, 160 pp. When appropriate, inform managers or other National Geographic Photography Field Guide Series. 2002. authorities of your presence and purpose. Help Landscapes and People and Portraits. National Geographic minimize cumulative impacts, and maintain safety.
  • Completing a Photography Exhibit Data Tag

    Completing a Photography Exhibit Data Tag

    Completing a Photography Exhibit Data Tag Current Data Tags are available at: https://unl.box.com/s/1ttnemphrd4szykl5t9xm1ofiezi86js Camera Make & Model: Indicate the brand and model of the camera, such as Google Pixel 2, Nikon Coolpix B500, or Canon EOS Rebel T7. Focus Type: • Fixed Focus means the photographer is not able to adjust the focal point. These cameras tend to have a large depth of field. This might include basic disposable cameras. • Auto Focus means the camera automatically adjusts the optics in the lens to bring the subject into focus. The camera typically selects what to focus on. However, the photographer may also be able to select the focal point using a touch screen for example, but the camera will automatically adjust the lens. This might include digital cameras and mobile device cameras, such as phones and tablets. • Manual Focus allows the photographer to manually adjust and control the lens’ focus by hand, usually by turning the focus ring. Camera Type: Indicate whether the camera is digital or film. (The following Questions are for Unit 2 and 3 exhibitors only.) Did you manually adjust the aperture, shutter speed, or ISO? Indicate whether you adjusted these settings to capture the photo. Note: Regardless of whether or not you adjusted these settings manually, you must still identify the images specific F Stop, Shutter Sped, ISO, and Focal Length settings. “Auto” is not an acceptable answer. Digital cameras automatically record this information for each photo captured. This information, referred to as Metadata, is attached to the image file and goes with it when the image is downloaded to a computer for example.
  • Wildlife Photography Over Nature Photography

    Wildlife Photography Over Nature Photography

    International Journal of Humanities and Social Science Invention (IJHSSI) ISSN (Online): 2319 – 7722, ISSN (Print): 2319 – 7714 www.ijhssi.org ||Volume 9 Issue 9 Ser. II || September 2020 || PP 49-52 Wildlife Photography over Nature Photography D. Randula Podduwage1, R.M.Patrick Ratnayake2 1, 2 – Drama & Theatre and Image Arts Unit, Department of Fine Arts, University of Kelaniya, Sri Lanka. ABSTRACT Wildlife photography is one of the most popular genres in photography. Although the history of wildlife photography goes back more than 100 years, until recently there was no internationally accepted definition for it. Since 2015, a number of leading photography organizations around the world have filled this gap, establishing the wildlife photography genre as a more consistent subject area, subject to a common international definition. The main purpose of this article is to identify the exact shape of the wildlife photography genre by considering the specific newly introduced definition with referring to existing sources. ----------------------------------------------------------------------------------------------------------------------------- ---------- Date of Submission: 10-09-2020 Date of Acceptance: 25-09-2020 ----------------------------------------------------------------------------------------------------------------------------- ---------- I. INTRODUCTION Capturing nature and wildlife images is an exclusive subject area of photography. It consists with the collaboration knowledge of few subjects like Photography, Art, Technology,
  • Seeing Like Your Camera ○ My List of Specific Videos I Recommend for Homework I.E

    Seeing Like Your Camera ○ My List of Specific Videos I Recommend for Homework I.E

    Accessing Lynda.com ● Free to Mason community ● Set your browser to lynda.gmu.edu ○ Log-in using your Mason ID and Password ● Playlists Seeing Like Your Camera ○ My list of specific videos I recommend for homework i.e. pre- and post-session viewing.. PART 2 - FALL 2016 ○ Clicking on the name of the video segment will bring you immediately to Lynda.com (or the login window) Stan Schretter ○ I recommend that you eventually watch the entire video class, since we will only use small segments of each video class [email protected] 1 2 Ways To Take This Course What Creates a Photograph ● Each class will cover on one or two topics in detail ● Light ○ Lynda.com videos cover a lot more material ○ I will email the video playlist and the my charts before each class ● Camera ● My Scale of Value ○ Maximum Benefit: Review Videos Before Class & Attend Lectures ● Composition & Practice after Each Class ○ Less Benefit: Do not look at the Videos; Attend Lectures and ● Camera Setup Practice after Each Class ○ Some Benefit: Look at Videos; Don’t attend Lectures ● Post Processing 3 4 This Course - “The Shot” This Course - “The Shot” ● Camera Setup ○ Exposure ● Light ■ “Proper” Light on the Sensor ■ Depth of Field ■ Stop or Show the Action ● Camera ○ Focus ○ Getting the Color Right ● Composition ■ White Balance ● Composition ● Camera Setup ○ Key Photographic Element(s) ○ Moving The Eye Through The Frame ■ Negative Space ● Post Processing ○ Perspective ○ Story 5 6 Outline of This Class Class Topics PART 1 - Summer 2016 PART 2 - Fall 2016 ● Topic 1 ○ Review of Part 1 ● Increasing Your Vision ● Brief Review of Part 1 ○ Shutter Speed, Aperture, ISO ○ Shutter Speed ● Seeing The Light ○ Composition ○ Aperture ○ Color, dynamic range, ● Topic 2 ○ ISO and White Balance histograms, backlighting, etc.
  • Aperture, Exposure, and Equivalent Exposure Aperture

    Aperture, Exposure, and Equivalent Exposure Aperture

    Aperture, Exposure, and Equivalent Exposure Aperture Also known as f-stop Aperture Controls opening’s size during exposure Another term for aperture: f-stop Controls Depth of Field Each full stop on the aperture (f-stop) either doubles or halves the amount of light let into the camera Light is halved this direction Light is doubled this direction The Camera/Eye Comparison Aperture = Camera body = Pupil Shutter = Eyeball Eyelashes Lens Iris diaphragm = Film = Iris Light sensitive retina Aperture and Depth of Field Depth of Field • The zone of sharpness variable by aperture, focal length, or subject distance f/22 f/8 f/4 f/2 Large Depth of Field Shot at f/22 Jacob Blade Shot at f/64 Ansel Adams Shallow Depth of Field Shot at f/4 Keely Nagel Shot at f/5.6 How is a darkroom test strip like a camera’s light meter? They both tell how much light is being allowed into an exposure and help you to pick the correct amount of light using your aperture and proper time (either timer or shutter speed) This is something called Equivalent Exposure Which will be explained now… What we will discuss • Exposure • Equivalent Exposure • Why is equivalent exposure important? Photography – Greek photo = light graphy = writing What is an exposure? Which one is properly exposed and what happened to the others? A B C Under Exposed A Over Exposed B Properly Exposed C Exposure • Combined effect of volume of light hitting the film or sensor and its duration. • Volume is controlled by the aperture (f-stop) • Duration (time) is controlled by the shutter speed Equivalent
  • Conservation Photography Wilderness Values Wilderness Education Tanzania, Italy, Russia, Guianas INTERNATIONAL Journal of Wilderness

    Conservation Photography Wilderness Values Wilderness Education Tanzania, Italy, Russia, Guianas INTERNATIONAL Journal of Wilderness

    Conservation Photography Wilderness Values Wilderness Education Tanzania, Italy, Russia, Guianas INTERNATIONAL Journal of Wilderness APRIL 2005 VOLUME 11, NUMBER 1 FEATURES INTERNATIONAL PERSPECTIVES (continued) EDITORIAL PERSPECTIVES 31 The Ruaha National Park, Tanzania 3 Can We Let Wilderness Just Be Wilderness? BY SUE STOLBERGER BY CHAD P. DAWSON 35 Wilderness Is More Than “Nature” SOUL OF THE WILDERNESS BY FRANCO ZUNINO 4 A Wilderness Challenge BY MICHAEL FROME 38 Plant Community Monitoring in Vodlozhersky National Park, Karelia, Russia STEWARDSHIP BY RALPH DUNMORE 8 Conservation Photography Art, Ethics, and Action BY CRISTINA MITTERMEIER WILDERNESS DIGEST 43 Announcements and Wilderness Calendar SCIENCE AND RESEARCH 14 A GIS–based Inductive Study of Wilderness Values Book Reviews BY GREGORY BROWN and LILIAN ALESSA 46 The Enduring Wilderness: Protecting Our Natural Heritage through the Wilderness Act PERSPECTIVES FROM THE ALDO LEOPOLD by Doug Scott WILDERNESS RESEARCH INSTITUTE REVIEW BY JOHN SHULTIS, IJW BOOK EDITOR 19 The Fire Effects Planning Framework BY ANNE BLACK 46 Wildland Recreation Policy: An Introduction, 2nd ed. by J. Douglas Wellman and Dennis B. Propst REVIEW BY CHAD DAWSON EDUCATION AND COMMUNICATION 21 Wilderness Education 46 Wildlife Tourism: Impacts, Management The Ultimate Commitment to Quality and Planning Wilderness Stewardship edited by Karen Higginbottom BY GREG HANSEN and TOM CARLSON REVIEW BY SARAH ELMELIGI INTERNATIONAL PERSPECTIVES 26 Conservation Planning in the Tropics FRONT COVER A photographer’s dream day at Mount McKinley, Lessons Learned from the Denali National Park, Alaska. Photo by Cathy Hart. Guianan Ecoregion Complex INSET Cristina Mittermeier looking a dung beetle in the eye, BY G. JAN SCHIPPER Tembe Elephant Reserve, KwaZulu Natal, South Africa.
  • Minolta Electronic Auto-Exposure 35Mm Single Lens Reflex Cameras and CLE

    Minolta Electronic Auto-Exposure 35Mm Single Lens Reflex Cameras and CLE

    Minolta Electronic Auto-Exposure 35mm Single Lens Reflex Cameras and CLE Minolta's X-series 35mm single lens user the creative choice of aperture and circuitry requires a shutter speed faster reflex cameras combine state-of-the-art shutter-priority automation, plus metered­ than 1/1000 second. These cameras allow photographic technology with Minolta's tra­ manual operation at the turn of a lever. The full manual control for employing sophisti­ ditional fine handling and human engineer­ photographer can select shutter-priority cated photo techniques. The silent elec­ ing to achieve precision instruments that operation to freeze action or control the tronic self-timer features a large red LED are totally responsive to creative photogra­ amount of blur for creative effect. Aperture­ signal which pulsates with increasing fre­ phy. Through-the-Iens metering coupled priority operation is not only useful for quency during its ten-second operating with advanced, electronically governed depth-of-field control , auto~exposure with cycle to indicate the approaching exposure. focal-plane shutters provide highly accu­ bellows, extension tubes and mirror lenses, The Motor Drive 1, designed exclusively rate automatic exposure control. All X­ but for the control of shutter speed as well . for the XG-M, provides single-frame and series cameras are compatible with the Full metered-manual exposure control continuous-run film advance up to 3.5 vast array of lenses and accessories that allows for special techniques. frames per second. Plus, auto winders and comprise the Minolta single lens reflex A vibration-free electromagnetic shutter "dedicated" automatic electronic flash units system. release triggers the quiet electronic shutter.
  • Ground-Based Photographic Monitoring

    Ground-Based Photographic Monitoring

    United States Department of Agriculture Ground-Based Forest Service Pacific Northwest Research Station Photographic General Technical Report PNW-GTR-503 Monitoring May 2001 Frederick C. Hall Author Frederick C. Hall is senior plant ecologist, U.S. Department of Agriculture, Forest Service, Pacific Northwest Region, Natural Resources, P.O. Box 3623, Portland, Oregon 97208-3623. Paper prepared in cooperation with the Pacific Northwest Region. Abstract Hall, Frederick C. 2001 Ground-based photographic monitoring. Gen. Tech. Rep. PNW-GTR-503. Portland, OR: U.S. Department of Agriculture, Forest Service, Pacific Northwest Research Station. 340 p. Land management professionals (foresters, wildlife biologists, range managers, and land managers such as ranchers and forest land owners) often have need to evaluate their management activities. Photographic monitoring is a fast, simple, and effective way to determine if changes made to an area have been successful. Ground-based photo monitoring means using photographs taken at a specific site to monitor conditions or change. It may be divided into two systems: (1) comparison photos, whereby a photograph is used to compare a known condition with field conditions to estimate some parameter of the field condition; and (2) repeat photo- graphs, whereby several pictures are taken of the same tract of ground over time to detect change. Comparison systems deal with fuel loading, herbage utilization, and public reaction to scenery. Repeat photography is discussed in relation to land- scape, remote, and site-specific systems. Critical attributes of repeat photography are (1) maps to find the sampling location and of the photo monitoring layout; (2) documentation of the monitoring system to include purpose, camera and film, w e a t h e r, season, sampling technique, and equipment; and (3) precise replication of photographs.
  • A Photography of Belonging

    A Photography of Belonging

    Dominican Scholar Collected Faculty and Staff Scholarship Faculty and Staff Scholarship 2014 Gelang: A Photography of Belonging Chase Clow Department of Humanities and Cultural Studies, Dominican University of California, [email protected] Survey: Let us know how this paper benefits you. Recommended Citation Clow, Chase, "Gelang: A Photography of Belonging" (2014). Collected Faculty and Staff Scholarship. 125. https://scholar.dominican.edu/all-faculty/125 This Dissertation is brought to you for free and open access by the Faculty and Staff Scholarship at Dominican Scholar. It has been accepted for inclusion in Collected Faculty and Staff Scholarship by an authorized administrator of Dominican Scholar. For more information, please contact [email protected]. GELANG: A PHOTOGRAPHY OF BELONGING by Chase M. Clow A Dissertation Submitted to the Faculty of California Institute of Integral Studies in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in Transformative Studies California Institute of Integral Studies San Francisco, CA 2014 UMI Number: 3680156 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. UMI 3680156 Published by ProQuest LLC (2015). Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code ProQuest LLC. 789 East Eisenhower Parkway P.O.
  • 72+ FREE Stock Photo Graphics Sites to Enhance Your Online Content

    72+ FREE Stock Photo Graphics Sites to Enhance Your Online Content

    72+ FREE Stock Photo Graphics Sites to Enhance Your Online Content Heidi Richards Mooney Resource of the Day 72+ FREE Stock Photo Graphics Sites - Redhead Marketing Inc. Social Marketing. No Pain. All Gain. Providing Simple, Results-driven Social Media Marketing, Training and Consulting Its that time again! Time to update the list of FREE Stock Photos. The previous list had 61 photo sites (some of whom are no longer around). This one has a list of 72 FREE STOCK PHOTO SITES that are active as of this publishing date. If you have trouble looking for photos to share, photos online -quality photos that are easily accessed (and mostly free), this list of 72 FREE photo/texture/clipart and webpage header graphics sites is a great resource. If you write a blog, write articles or are putting together a book/ebook that needs images to “dress it up,” these 72 FREE/Creative Commons stock photo sites are worth checking out. All of the sites listed offer images for use for free (be sure and check the terms of use for each site). Many of them also offer photos for a fee (they are often referred to as Royalty Free which means that you don’t need to pay the photographer a royalty each time you use the image. Each of these sites are worth exploring. Be sure to read the “terms of use” before using any of the photos or graphics for commercial use. Resource of the Day 72+ FREE Stock Photo Graphics Sites - Redhead Marketing Inc. 72+ FREE Stock Photo Graphics Sites to Enhance Your Online Content Resource of the Day 72+ FREE Stock Photo Graphics Sites - Redhead Marketing Inc.
  • Wildlife Photography on Private Lands a Market Study

    Wildlife Photography on Private Lands a Market Study

    E-467 03-08 Wildlife Photography on Private Lands A Market Study Miles Phillips, Assistant Professor and Extension Specialist, Texas AgriLife Extension Service, The Texas A&M System Photos by Miles Phillips According to the U.S. Fish and Wildlife Service’s 2006 National Survey of Fishing, Hunting, and Wildlife-Associated Recreation, 11.7 million people in the United States travel for the purpose of photographing wildlife. In 2007, members of the North American Nature Photography Association (NANPA) and a small number of individual photographers who had paid a fee to photograph wildlife on private lands in Texas were asked to complete an online survey about their experiences. Eleven landowners who offered fee-based wildlife photography on their land completed a related survey. The survey results show that private landowners can provide a highly satisfying experience for wildlife photographers. This study also indicates that the current market for fee-based wildlife photography is not well devel- oped and depends on a mix of key species, site amenities, and marketing efforts. Regional and seasonal desirability is influenced by general scenery and climate as well as by wildlife. The study indicates that, although interest is growing, most people are not aware of the benefits of fee-based wildlife photography opportunities on private lands, and so the level of demand is still largely unknown. Some landowners have begun to profit from this enterprise, but others have not yet made the profit they need to continue their operations. This pilot study was intended as a starting point for learning whether fee-based photography has potential as a way for agricultural operators to diversify their income while conserving wildlife.
  • 6Am. Alfreda WINKLER 62% Attorneys 3,008,397 United States Patent Office Patented Nov

    6Am. Alfreda WINKLER 62% Attorneys 3,008,397 United States Patent Office Patented Nov

    Nov. 14, 1961 A WINKLER 3,008,397 SINGLE LENS REFLEX CAMERA Filed March 3, 1960 21 Fig. 1 2N5 SNS Š y Y N N - - - - - 7 le/N N N N N. W. tre N N A&AN N SNSNN Sea RigaAfälii; &SNO 10 f7 9 20 fö 22 12a -III 1 16 14 6 Fig.3 INVENTOR. -6am. ALFREDa WINKLER 62% ATTORNEYs 3,008,397 United States Patent Office Patented Nov. 14, 1961 2 3,008,397 which are inserted film cassettes 2 of the type which does SINGLE LENS REFLEX CAMERA not include a core. These cassettes are arranged on both Alfred Winkler, Munich, Germany, assignor to Agfa sides of the optical system of the camera, and film 22 is Aktiengesel Eschaft, Leverkusen-Bayerwerk, Germany, a transported from one cassette to the other during opera corporation of Germany 5 tion of the camera in the manner later described in de Filed Mar. 3, 1960, No. E. 1959 tail. A carrier 4 is movably mounted upon camera hous Claims priority, application Germany Mar. 3, ing 1, for example, upon a guide rod 3. Movable ele p g (E (C. 95-42) ments of the camera including, for example, a reflecting mirror 5 and a cover plate 6 for the viewfinder aperture This invention relates to a single lens reflex camera O in line with eyepiece 21 are mounted upon this carrier. having a mirror which is moved out of line with the op A single control element 7 which is, for example, a control tical axis of the camera before the shutter is released and lever is used to condition the camera for each exposure a cover plate which seals the viewfinder aperture during in the manner later described in detail.