Rolleiflex Guide

Total Page:16

File Type:pdf, Size:1020Kb

Rolleiflex Guide 7 CONTENTS Page Page The Rolleifl.ex Carnera 5 Shutter Speedsand Rolleiflex Evolution 6 Movement 39 The 4x4 cm. Rolleiflex Aperture and Depth of Field 4O Models 10 Zone Focusing 58 Hand.ling the Rolleifler t2 Flash Photography 59 Holding 12 How to use Flash 60 Carrying t4 Exposure Guide Numbers 62 The Reflex Finder t4 Viewing t4 in Troplcal Parallax Compensation t6 Canrera Care Clirnates 63 Focusing t7 Shooting 18 Fa.ctsand Figures 64 Feet Loading and Unloading t9 Conversion of and Inches into Metric Units 64 Loading t9 Zone Focusing 64 Unloading 22 Daylight Exposure Values 65 Shutter Speedsto Arrest Films and Filters 23 Movement 66 Black-and-White Film 23 Apertures with Clear Colour Film A Flash Bulbs 66 Colour Reversal Film 26 Apertures with Blue Flash Bulbs 67 Colour Negative Film 27 Close-upswith 2|x 2L n. Colour Film Speeds 27 Rolleis 67 of Colour Film 28 The Choice Close-upswith 1* x 18 iu. Filters for Black-and-White 29 Rolleis 67 Filters for Colour Film 30 Conversion of Film Speed The Polarizing Screen 30 Systems 68 Black-and-White Filter Data 68 Exposure 3l Colour Correction Filters 69 Aperture and Speed 31 Black-and-White Films 70 Choosing the Cornbination 32 Colour Films 7l Time Exposures 35 The Self-Timer 35 Using an Exposure Meter 35 Hou to . .lVhot is Where? 72 The Green Section betweenpages 24 and 25 Page THE NOLLEIFLNX: MODEL BY MODEL The Rollaifler F and E Series Loading6 - Unloading 8 - Shooting 8 - Using the Rolleiflex E Exposuie Meter f 0 - Installing the Exposure Meter I I - Special Controls | | The Rolleiflar T t4 ioadine" 14 - unioaoini t5 :'sho;iine tC - Using the RolleiflexT ExposureMeter 18 - Installingthe Exposure Meter 18- SpecialControls 19 The Rollei-Magic I,II 20 Loading 0 - Unloading 2 - Shooting 2 - Special Con- trols 3 The Rolleifler lxl 2s Loading 5 - Unloading 5 -'shooting,2s':Sp"diuf coir- trols 6 The Rolleifl.ex Autotnat Series 29 Loading 30 - Unloading 30 - Shooting 30 - Special Con- trols 34 Early Rolleifle* Mo&ls 35 Loading 38 - Unloading 38 - Shooting 38 - Special Con- trols 39 Lens Attachrncnts cnd, Accessories 40 Tele and Wide-angle Work with the Rolleiflex 40 - Close-up Work with the Rolleiflex 40 -Earlier Close-up Lens Sets4 Soft Focus Lenses 4 -The Lens Hood 43 - The Rolleilux 43 - Filters 43 - The Rollei Micro Adapter 44 Vieuing Accessories . 15 The Binocular Focusing Hood 45 - The Eye-level Prism Finder 45 - The Rolleigrid 45 - Rolleiclear Screen 45 - The Rolleimeter 45 - The Extension Focusing Knob 46 Cam,era Casesand Eolding Accessories . 48 Ever-Ready Cases48 - The Metal Ever-Ready Case48 - The Rolleifix Tripod Head 50 - The Pistol Grip 50 - The Pano- rama Head 50 - The Stereo Slide 50 - The Rollei Marin Underwater Housing 5 - The Rolleimat 5 Alurnatioe Picture Sizes . 53 The Rolleiflex Mask Set 53 - The Plate Adapter 53 - The Rolleikin Cine Film Adapter 54 - The Rolleikin II 54 - Installing the Release Knob 55 - Assembling the Rollei- kin II 56 - Loading 55 - Film Transport 58 - Rewinding 58 - The Rolleikin I 58 - Assembling the Rolleikin I 58 - Film Loading and Transport 50 - Rewinding 60 - Early Designs of Rolleikin 62 Some iterns of equipment or certnin moteriols mentioned in this book moy not be f reely avoiloble in every country. Import ond marketing conditions vory widely, and ore outside the control ofthe photogrophicretoiler. 1967 Edition @ Focal PressLtd., 1959 Printed 1967 n Great Britain by Staples Printers Limited, Rochester, Kent THE ROLLEIFLEX CAMERA The Rolleiflex is the original rollfilm, twin-lens reflex camera design, from which virtually all other cameras of this type are derived. It takes 12 exposures 2f x2l in. (6x6 cm.) on standard 120 rollfilm or 24 exposures on 220 film with specially adapted models. A "baby Rolleiflex 4x4 cm. for 12 exposureson 127 rollfilm is also available. Two lenses-matched for focal length-are mounted one above the other on a common panel. The upper lens pro- jects an image of the subject via a mirror to a focusing screen in the top of the camera, while the lower one projects a similar image on to the film. The focusing screen image, therefore, shows at all times the full size picture-upright but reversed left to right-as it will appear on the film. To com- pensate for any parallax between the viewing and taking lens a mask is built into the viewing camera below the focusing screen. The focusing screen on top of the camera is protected in the closed position by the folded-down finder hood. When opened, this forms a light excluding hood 2$ in. high; it carries a magnifier for critical focusing. A frame finder for eye-leveldirect vision use is built into the hood. The hood on current models is removable and can be replaced by a pentaprism, which permits eye-level focusing, showing the image upright and right-way-round. The finder lens in all models is faster than the taking lens and cannot be stopped down. This ensures a bright focusing screen image and, having rather less depth of fleld than the taking lens, allows for very critical focusing. The interior of the camera body is fitted with light baffies which effectively avoid scatter of light and enhance the brilliance of the picture. The Rolleiflex is focused by a large focusing knob on the side of the camera. This is geared to the front panel and smoothly and simultaneously controls both lenses. A depth of field indicator is incorporated. Current models arc available with a built-in photo-electric exposure meter which in most cases is coupled to the aperture setting. A film type indicator is built into the film transport knob. Film transport is effected by a crank situated on the side of the camera. It locks when the correct amount of film has been wound on to bring each new frame of film into position. A counter registersthe number of exposuresmade. A tripod bush is located in the centre of the camera base. The back of the camera hinges open for the insertion and removal of films and can also be removed. It carries a sub- stantial spring-loaded pressure plate. Transporting the film automatically tensions the shutter. The shutter is released by a body release knob on the front of the camera. When not in use, it can be locked to prevent accidental release. The shutter cannot be released until the film has been wound on, thus preventing double exposures. To avoid blank frames, the film cannot be wound on until the previous frame has been exposed. The shutter on most current models is a Synchro-Compur with speedsfrom 1 sec.to 1/500 sec.as well as B. It has built- in delayed action and is flash synchronised. Both the taking and finder lenses together with the shutter are enclosed in a dustproof casing, which has peep windows at the top showing shutter speeds and apertures. A wide range of accessoriesis available for the Rolleiflex. Both finder and taking lens carry bayonet rings for fitting filters, close-up lenses and similar attachments. The Rolleiflex is about 5$ in. high, 3f in. wide and 3f in. deep. Its weight is about 341ozs. The body is an aluminium alloy casting. The Rollei Magic models have a few different features which are detailed in the green pages. Rolleiflex Eaolution Theoriginal Rolleiflex was introduced in 1928.It took six exposures 2tx2* in. on 117film, whichis now discontinued.It can be converted to take 12exposures 2|x 2l in. on size620 film. A film transportknob advancesthe film, exposuresare countedin a red window.It is fitted with a 70 mm. Tessar/4.5 lensin a Compurshutter (1 to 1/300sec. 6 ROLLETFLEX EVOLUTION 0nrG: t928 sTo.orD193u34 AUT0I,|AIte3Z38 srD.lttw Thc firrt Rolleiflcx of t928 started the basic system of the twin-lens rollfilm reflex. The standard moaeiot t9j2 lo 1934 already incorporated thi transport crank and lenses mounted on a common p"nei, wtrite *e Automar froln 1937'onwards had apeiture a-nd sp-eed setting whejls and. automatic foadirig features. The Standard New of 1939 is a sim'pler version of the Automat of that time. IUI(lMAT AUT(lMAT 3.5E 3.5 3.5 r950 1954 1956 R0[tEl T lilAGrC 1960 1958 The oost-war Automa! 3.5 models featured a redesignedfinder hood and flash synchronisedshutters. from 1954onwards exposure value shutters wer€ built in, and-since 1956-exposure.meters. On the model 3.5Fof li58 the meter is coupled with the aperture and speedsetting. ln the same ieiri simpler model T appeared,while the'Rollei Magicof t960 has the exPosuremeter coupled with a fully programmedshutter for automatic control. 7 I I I !, T), The finder hood has a built-in mirror for eye-levelreflex focusing. Parallax is compensate9.byredlrction of the reflex picture. The takinlg lens mount diameter, 24 mm.In 1929 the same camera. but with i 75 mm. Tessar/3.8 was marketed; the finder lens aperture is/3.1. Rolleiflex Standard of 1932has a 75 mm. Tessarf 4.5 or f 3.8lens in Compur shutter (1 to 1/300 sec.,B and T). The lenl mount diameter is 28.5 mm. Finder lens apertureis/3.1. Finder hood has a frame finder. Parallax is compensatedby reduction of the reflex picture. Takes 12 exposures on 120 or 2O film. Film transport by lever crank. First exposureset by red window, thereafter by automatic counter.ln 1934. the samemg{glappeared with a 75 mm. Tessar/3.5 and Compur Rapid shutter to 1/500 sec. B and T.
Recommended publications
  • Sample Manuscript Showing Specifications and Style
    Information capacity: a measure of potential image quality of a digital camera Frédéric Cao 1, Frédéric Guichard, Hervé Hornung DxO Labs, 3 rue Nationale, 92100 Boulogne Billancourt, FRANCE ABSTRACT The aim of the paper is to define an objective measurement for evaluating the performance of a digital camera. The challenge is to mix different flaws involving geometry (as distortion or lateral chromatic aberrations), light (as luminance and color shading), or statistical phenomena (as noise). We introduce the concept of information capacity that accounts for all the main defects than can be observed in digital images, and that can be due either to the optics or to the sensor. The information capacity describes the potential of the camera to produce good images. In particular, digital processing can correct some flaws (like distortion). Our definition of information takes possible correction into account and the fact that processing can neither retrieve lost information nor create some. This paper extends some of our previous work where the information capacity was only defined for RAW sensors. The concept is extended for cameras with optical defects as distortion, lateral and longitudinal chromatic aberration or lens shading. Keywords: digital photography, image quality evaluation, optical aberration, information capacity, camera performance database 1. INTRODUCTION The evaluation of a digital camera is a key factor for customers, whether they are vendors or final customers. It relies on many different factors as the presence or not of some functionalities, ergonomic, price, or image quality. Each separate criterion is itself quite complex to evaluate, and depends on many different factors. The case of image quality is a good illustration of this topic.
    [Show full text]
  • Exposure Metering and Zone System Calibration
    Exposure Metering Relating Subject Lighting to Film Exposure By Jeff Conrad A photographic exposure meter measures subject lighting and indicates camera settings that nominally result in the best exposure of the film. The meter calibration establishes the relationship between subject lighting and those camera settings; the photographer’s skill and metering technique determine whether the camera settings ultimately produce a satisfactory image. Historically, the “best” exposure was determined subjectively by examining many photographs of different types of scenes with different lighting levels. Common practice was to use wide-angle averaging reflected-light meters, and it was found that setting the calibration to render the average of scene luminance as a medium tone resulted in the “best” exposure for many situations. Current calibration standards continue that practice, although wide-angle average metering largely has given way to other metering tech- niques. In most cases, an incident-light meter will cause a medium tone to be rendered as a medium tone, and a reflected-light meter will cause whatever is metered to be rendered as a medium tone. What constitutes a “medium tone” depends on many factors, including film processing, image postprocessing, and, when appropriate, the printing process. More often than not, a “medium tone” will not exactly match the original medium tone in the subject. In many cases, an exact match isn’t necessary—unless the original subject is available for direct comparison, the viewer of the image will be none the wiser. It’s often stated that meters are “calibrated to an 18% reflectance,” usually without much thought given to what the statement means.
    [Show full text]
  • Carl Zeiss Oberkochen Large Format Lenses 1950-1972
    Large format lenses from Carl Zeiss Oberkochen 1950-1972 © 2013-2019 Arne Cröll – All Rights Reserved (this version is from October 4, 2019) Carl Zeiss Jena and Carl Zeiss Oberkochen Before and during WWII, the Carl Zeiss company in Jena was one of the largest optics manufacturers in Germany. They produced a variety of lenses suitable for large format (LF) photography, including the well- known Tessars and Protars in several series, but also process lenses and aerial lenses. The Zeiss-Ikon sister company in Dresden manufactured a range of large format cameras, such as the Zeiss “Ideal”, “Maximar”, Tropen-Adoro”, and “Juwel” (Jewel); the latter camera, in the 3¼” x 4¼” size, was used by Ansel Adams for some time. At the end of World War II, the German state of Thuringia, where Jena is located, was under the control of British and American troops. However, the Yalta Conference agreement placed it under Soviet control shortly thereafter. Just before the US command handed the administration of Thuringia over to the Soviet Army, American troops moved a considerable part of the leading management and research staff of Carl Zeiss Jena and the sister company Schott glass to Heidenheim near Stuttgart, 126 people in all [1]. They immediately started to look for a suitable place for a new factory and found it in the small town of Oberkochen, just 20km from Heidenheim. This led to the foundation of the company “Opton Optische Werke” in Oberkochen, West Germany, on Oct. 30, 1946, initially as a full subsidiary of the original factory in Jena.
    [Show full text]
  • Nikon D5100: from Snapshots to Great Shots
    Nikon D5100: From Snapshots to Great Shots Rob Sylvan Nikon D5100: From Snapshots to Great Shots Rob Sylvan Peachpit Press 1249 Eighth Street Berkeley, CA 94710 510/524-2178 510/524-2221 (fax) Find us on the Web at www.peachpit.com To report errors, please send a note to [email protected] Peachpit Press is a division of Pearson Education Copyright © 2012 by Peachpit Press Senior Acquisitions Editor: Nikki McDonald Associate Editor: Valerie Witte Production Editor: Lisa Brazieal Copyeditor: Scout Festa Proofreader: Patricia Pane Composition: WolfsonDesign Indexer: Valerie Haynes Perry Cover Image: Rob Sylvan Cover Design: Aren Straiger Back Cover Author Photo: Rob Sylvan Notice of Rights All rights reserved. No part of this book may be reproduced or transmitted in any form by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher. For information on getting permission for reprints and excerpts, contact permissions@ peachpit.com. Notice of Liability The information in this book is distributed on an “As Is” basis, without warranty. While every precaution has been taken in the preparation of the book, neither the author nor Peachpit shall have any liability to any person or entity with respect to any loss or damage caused or alleged to be caused directly or indirectly by the instructions contained in this book or by the computer software and hardware products described in it. Trademarks All Nikon products are trademarks or registered trademarks of Nikon and/or Nikon Corporation. Many of the designations used by manufacturers and sellers to distinguish their products are claimed as trademarks.
    [Show full text]
  • E-300 Advanced Manual
    E-300AdEN-Cover 04.10.22 11:43 AM Page 1 Basic operations DIGITDIGITALAL CAMERA Things to know before shooting http://www.olympus.com/ Selecting the right mode for shooting conditions ADVANCED MANUAL ADVANCED ADADVANCEDVANCED MANUMANUALAL Shinjuku Monolith, 3-1 Nishi-Shinjuku 2-chome, Shinjuku-ku, Tokyo, Japan Various shooting functions Focusing functions Two Corporate Center Drive, PO Box 9058, Melville, NY 11747-9058, U.S.A. Tel. 1-631-844-5000 Exposure, image and color Technical Support (USA) 24/7 online automated help: http://www.olympusamerica.com/E1 Phone customer support: Tel. 1-800-260-1625 (Toll-free) Playback Our phone customer support is available from 8 am to 10 pm (Monday to Friday) ET Customizing the settings/ E-Mail: [email protected] functions of your camera Olympus software updates can be obtained at: http://www.olympus.com/digital Printing Premises: Wendenstrasse 14-18, 20097 Hamburg, Germany Transferring images to a Tel. +49 40 - 23 77 3-0 / Fax +49 40 - 23 07 61 computer Goods delivery: Bredowstrasse 20, 22113 Hamburg, Germany Letters: Postfach 10 49 08, 20034 Hamburg, Germany Appendix European Technical Customer Support: Please visit our homepage http://www.olympus-europa.com or call our TOLL FREE NUMBER*: 00800 - 67 10 83 00 Information for Austria, Belgium, Denmark, Finland, France, Germany, Italy, Luxemburg, Netherlands, Norway, Portugal, Spain, Sweden, Switzerland, United Kingdom * Please note some (mobile) phone services/provider do not permit access or request an additional prefix to +800 numbers. For all not listed European Countries and in case that you can’t get connected to ● Thank you for purchasing an Olympus digital camera.
    [Show full text]
  • The Usage of Digital Cameras As Luminance Meters [6502-29]
    The usage of digital cameras as luminance meters Dietmar Wüllera, Helke Gabeleb aImage Engineering, Augustinusstrasse 9d, 50226 Frechen, Germany; bFRAMOS Electronic Vertriebs GmbH, Zugspitzstrasse 5 Haus C, 82049 Pullach, Germany ABSTRACT Many luminance measuring tasks require a luminance distribution of the total viewing field. The approach of image- resolving luminance measurement, which could benefit from the continual development of position-resolving radiation detectors, represents a simplification of such measuring tasks. Luminance measure cameras already exist which are specially manufactured for measuring tasks with very high requirements. Due to high-precision solutions these cameras are very expensive and are not commercially viable for many image-resolving measuring tasks. Therefore, it is desirable to measure luminance with digital still cameras which are freely available at reasonable prices. This paper presents a method for the usage of digital still cameras as luminance meters independent of the exposure settings. A calibration of the camera is performed with the help of an OECF (opto-electronic conversion function) measurement and the luminance is calculated with the camera’s digital RGB output values. The test method and computation of the luminance value irrespective of exposure variations is described. The error sources which influence the result of the luminance measurement are also discussed. Keywords: digital camera, luminance, OECF measurement, exposure value 1. INTRODUCTION Many measuring points are necessary for the determination of luminance ratios in a whole scene. If a conventional luminance meter, which can only perform point-by-point measurements, is used for such large-scale assessments, the process of measuring would be very time-consuming. Likewise, measuring small details can not be realised with a luminance meter because of its fixed measuring angle, which is usually not small enough.
    [Show full text]
  • Camera System Considerations for Geomorphic Applications of Sfm Photogrammetry Adam R
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by DigitalCommons@University of Nebraska University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln USGS Staff -- ubP lished Research US Geological Survey 2017 Camera system considerations for geomorphic applications of SfM photogrammetry Adam R. Mosbrucker US Geological Survey, [email protected] Jon J. Major US Geological Survey Kurt R. Spicer US Geological Survey John Pitlick University of Colorado Follow this and additional works at: http://digitalcommons.unl.edu/usgsstaffpub Part of the Geology Commons, Oceanography and Atmospheric Sciences and Meteorology Commons, Other Earth Sciences Commons, and the Other Environmental Sciences Commons Mosbrucker, Adam R.; Major, Jon J.; Spicer, Kurt R.; and Pitlick, John, "Camera system considerations for geomorphic applications of SfM photogrammetry" (2017). USGS Staff -- Published Research. 1007. http://digitalcommons.unl.edu/usgsstaffpub/1007 This Article is brought to you for free and open access by the US Geological Survey at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in USGS Staff -- ubP lished Research by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. EARTH SURFACE PROCESSES AND LANDFORMS Earth Surf. Process. Landforms 42, 969–986 (2017) Published 2016. This article is a U.S. Government work and is in the public domain in the USA Published online 3 January 2017 in Wiley Online Library (wileyonlinelibrary.com) DOI: 10.1002/esp.4066 Camera system considerations for geomorphic applications of SfM photogrammetry Adam R. Mosbrucker,1* Jon J. Major,1 Kurt R. Spicer1 and John Pitlick2 1 US Geological Survey, Vancouver, WA USA 2 Geography Department, University of Colorado, Boulder, CO USA Received 17 October 2014; Revised 11 October 2016; Accepted 12 October 2016 *Correspondence to: Adam R.
    [Show full text]
  • Measuring Luminance with a Digital Camera
    ® Advanced Test Equipment Rentals Established 1981 www.atecorp.com 800-404-ATEC (2832) Measuring Luminance with a Digital Camera Peter D. Hiscocks, P.Eng Syscomp Electronic Design Limited [email protected] www.syscompdesign.com September 16, 2011 Contents 1 Introduction 2 2 Luminance Standard 3 3 Camera Calibration 6 4 Example Measurement: LED Array 9 5 Appendices 11 3.1 LightMeasurementSymbolsandUnits. 11 3.2 TypicalValuesofLuminance.................................... 11 3.3 AccuracyofPhotometricMeasurements . 11 3.4 PerceptionofBrightnessbytheHumanVisionSystem . 12 3.5 ComparingIlluminanceMeters. 13 3.6 FrostedIncandescentLampCalibration . 14 3.7 LuminanceCalibrationusingMoon,SunorDaylight . 17 3.8 ISOSpeedRating.......................................... 17 3.9 WorkFlowSummary ........................................ 18 3.10 ProcessingScripts.......................................... 18 3.11 UsingImageJToDeterminePixelValue . 18 3.12 UsingImageJToGenerateaLuminance-EncodedImage . 19 3.13 EXIFData.............................................. 19 References 22 1 Introduction There is growing awareness of the problem of light pollution, and with that an increasing need to be able to measure the levels and distribution of light. This paper shows how such measurements may be made with a digital camera. Light measurements are generally of two types: illuminance and lumi- nance. Illuminance is a measure of the light falling on a surface, measured in lux. Illuminanceis widely used by lighting designers to specify light levels. In the assessment of light pollution, horizontal and vertical measurements of illuminance are used to assess light trespass and over lighting. Luminance is the measure of light radiating from a source, measured in candela per square meter. Luminance is perceived by the human viewer as the brightness of a light source. In the assessment of light pollution, (a) Lux meter luminance can be used to assess glare, up-light and spill-light1.
    [Show full text]
  • Marking Period 3 1 Course Introduction & Elements of Digital
    DEPARTMENT APPLIED TECH COURSE: DIGITAL PHOTOGRAPHY II Marking Period 1(Quarters 1 & 2) Marking Period 3 Week Week 1 Course Introduction & Elements of Digital 21 Photography 2 Using Your Camera: Visual Foundations & 22 Workflow 3 History and Future of Photography 23 4 Lighting Conditions and Challenges/Personal 24 Theme Term Projects 5 Digital Image Output/Portfolio Development 25 6 Photoshop vs. In-camera Controls 26 7 High Dynamic Range, Photomerge and 27 Collage 8 Personal Theme Projects Critique/Edit 28 9 Editing Final Portfolio / Print Output 29 10 30 Marking Period 2 Marking Period 4 Week Week 11 31 12 32 13 33 14 34 15 35 16 36 17 37 18 38 19 39 20 40 DEPARTMENT APPLIED TECH COURSE: DIGITAL PHOTOGRAPHY II Time Frame WEEK ONE Topic Course Introduction & Elements of Digital Photography Essential Questions What is Digital Photography and how has it evolved? What areas will be explored in the Digital Photography II course? What projects will be accomplished in the course? What are the student requirements in the Digital Photography II course? How is the course grade determined? What are the teacher expectations for student behavior in the Digital Photography II course? What general safety measures should I be aware of in the classroom environment? What safety measures should I be aware of when making photographs with electronic digital cameras and electrical lighting apparatus in the studio/ classroom? What electrical safety measures should I be aware of when using computer equipment and printers in the classroom? What physical responses should I conduct in the event of personal injury, peer injury, or school evacuation requirements? Enduring Understandings Digital Photography II provides students with an understanding of the technological systems that extend the range of human communications, with an emphasis on visual communications and personal artistic expression.
    [Show full text]
  • (DSLR) Cameras
    Optimizing Radiometric Fidelity to Enhance Aerial Image Change Detection Utilizing Digital Single Lens Reflex (DSLR) Cameras Andrew D. Kerr and Douglas A. Stow Abstract Our objectives are to analyze the radiometric characteris- benefits of replicating solar ephemeris (Coulter et al., 2012, tics and best practices for maximizing radiometric fidel- Ahrends et al., 2008), specific shutter and aperture settings ity of digital single lens reflex (DSLR) cameras for aerial (Ahrends et al., 2008, Lebourgeois et al., 2008), using RAW image-based change detection. Control settings, exposure files (Deanet al., 2000, Coulter et al., 2012, Ahrends et al., values, white balance, light metering, ISO, and lens aper- 2008, Lebourgeois et al., 2008), vignetting abatement (Dean ture are evaluated for several bi-temporal imagery datasets. et al., 2000), and maintaining intra-frame white balance (WB) These variables are compared for their effects on dynamic consistency (Richardson et al., 2009, Levin et al., 2005). range, intra-frame brightness variation, acuity, temporal Through this study we seek to identify and determine how consistency, and detectability of simulated cracks. Test- to compensate and account for, the photometric aspects of im- ing was conducted from a terrestrial, rather than airborne age capture and postprocessing with DSLR cameras, to achieve platform, due to the large number of images collected, and high radiometric fidelity within and between digital multi- to minimize inter-image misregistration. Results point to temporal images. The overall goal is to minimize the effects of exposure biases in the range of −0.7 or −0.3EV (i.e., slightly these factors on the radiometric consistency of multi-temporal less than the auto-exposure selected levels) being preferable images, inter-frame brightness, and capture of images with for change detection and noise minimization, by achiev- high acuity and dynamic range.
    [Show full text]
  • Digital Photography Module 2
    DODEA Virtual High School (DVHS): Vision To prepare our students to live, learn, work, and serve the public good in a digital, global society through engaging, syn- chronous and asynchronous instruction. Combination Image, see Image Credits (p.27) Digital Module 2 Photography Thom_Morris, iStockphoto/Thinkstock [background] Digital Photography Module 2: Learning the Language Overview Photography is an art form with a unique language. In order to fully understand what you are seeing and capturing in images you must learn this language. The lessons in this module aim to introduce you to the elements of art and design that influence pho- tographic composition. Additionally there are lessons which provide valuable infor- mation regarding digital exposure, how lenses work and how to handle your camera. Consider this module basic photography boot camp. At the end of this module there is a field assignment where you will have the opportunity to demonstrate your under- standing and showcase your new skills. Table of Contents Lesson 1 - Photographic Attributes Lesson 2 - Composition Lesson 3 - How Lenses Work Lesson 4 - Handling the Camera Lesson 5 - Digital Exposure Marcel Ter bekke, Thinkstock bekke, Ter Marcel Scuddy Waggoner, iStockphoto/Thinkstock iStockphoto/Thinkstock Waggoner, Scuddy Digital Photography Module 2: Learning the Language DoDEA Standards VA1c: The student evaluates the characteristics of traditional media, technolog- ical tools, techniques, and processes in the process of making art. VA1d: The student uses art materials and tools, including technology, in a safe and responsible manner. VA2b: The student analyzes and explains how elements of art and principles of design clarify an artwork’s role and purpose.
    [Show full text]
  • Rolleifle,X 2.8F IMPROVING on When the Rolleiflex 2.8F Was Created, Astar Was Born
    HOW Amateur Photographer's... Ie P 0 06 MUCH o HEY PHOTOGRAPHER I PHOTOGRAPH I COST? AType 1Rolleiflex 2,8F with 80mm Planar and exposure AType 1version of the meter, showing late 1950s, with 75mm 'moderate/heavy use' 1/3.5 Planar and built­ with 'obvious wear in uncoupled exposure to the body covering' meter. Ihis one is in sold for [432,02 on as-bought condition eBay on 16 July, A and has not yet been dealer in Frankfurt cleaned for display sold anear-mint 2.8F with Planar and meter for [1.261 on 11 July. The 3.5F realises similar prices, with similar differences for condition. Amint example of the last 'wl\'ite face' 3.5F with meter and ERe [ever­ ready easel sold on eBay for [1,874 on, 16 July. AweU-used but sound 3.5F with ptanar and accessories sold for [436.20 on 14 July A3.5F with f/3.5 Xenotar and needing a the optical quality of the 80mm f/2.8 Carl shutter service [which Zeiss Planar and the ultimate mechanical could be pricey] sold leaf shutter of the time, the Synchro for [171 on 11 July. The classic Type 1of the 1960s, Compur As acreative tool, particularly for These examples show pictures of people, it was unsurpassed, that prices of 2.8F with 80mm f/28 Planar and built-in The companion to the 28F, the Rolleiflex and 3.5F Rolleiflexes 35F, had been launched in 1958 with either vary dramatically with selenium-cell exposure meter an f/35 Zeiss Planar or an f/35 Schneider condition.
    [Show full text]