DOCSLIB.ORG

Photography: an Introduction Module Three: Tools and Techniques

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Photography: an Introduction Module Three: Tools and Techniques VART2960 Photography: An Introduction Module Three: Tools And Techniques VIS15 / VART2960 photography: an introduction Module Three: Tools And Techniques Copyright 2008 RMIT Page 1 VART2960 Photography: An Introduction Module Three: Tools And Techniques Contents Tools and Techniques ............................................................................................ 5 3.1 Identify the basic components of a camera ........................................................ 6 3.2 Distinguishing between different ways of creating a light tight box ....................... 6 The Camera Obscura ............................................................................................................ 8 3.3 Distinguishing between different types of lenses .............................................. 11 Lens speed ....................................................................................................................... 11 Focal length ...................................................................................................................... 11 Long and short lenses ....................................................................................................... 12 Zoom lens ......................................................................................................................... 13 Macro lens ........................................................................................................................ 13 Fish Eye lens..................................................................................................................... 13 PC Correction lens ............................................................................................................. 14 3.4 Distinguishing between different types of film carriers ...................................... 15 Film formats ...................................................................................................................... 15 Film Advance ..................................................................................................................... 15 3.5 Distinguishing between different types of viewfinders ....................................... 17 The basic principle of operation of the rangefinder .............................................................. 17 Parallax error.................................................................................................................... 17 Correcting for eye problems ............................................................................................... 17 3.6 Distinguishing between different types of shutters ........................................... 18 3.7 Distinguishing between different focusing systems ........................................... 20 Distance scale focusing using either visual symbols or actual imperial/metric settings ........... 20 Diagram of a split image rangefinder screen ....................................................................... 21 3.8 Distinguishing between different types of exposure control................................ 22 3.9 Distinguishing between different types of built-in exposure meters ..................... 23 3.10 Distinguish between different types of hand-held exposure meters .................... 24 Typical hand-held cadmium sulphide cell light meter ............................................................ 24 Taking a reading with a reflected light meter ....................................................................... 25 Taking a reading with an incident light meter ...................................................................... 25 3.11 Distinguishing between different camera systems ........................................... 26 Processed film cameras ..................................................................................................... 26 The Kodak No.1 camera 1888. ........................................................................................... 26 George Eastman holding a Kodak No.1 camera .................................................................... 26 Instant film Cameras .......................................................................................................... 27 SX-70 Polaroid Land Camera ........................................................ Error! Bookmark not defined. Copyright 2008 RMIT Page 2 VART2960 Photography: An Introduction Module Three: Tools And Techniques Schematic diagram of the viewing and exposure ............................ Error! Bookmark not defined. light path .................................................................................... Error! Bookmark not defined. Digital Cameras ................................................................................................................. 28 3.12 Distinguishing between different film–base camera types................................. 29 Different Types of Cameras ................................................................................................ 29 Disposable ........................................................................................................................ 30 Viewfinder ......................................................................................................................... 30 Rangefinder ...................................................................................................................... 30 Schematic diagram showing the independent eye and film paths from a scene ....................... 30 Compact Point-and-Shoot ................................................................................................... 30 Single-lens reflex 35 mm format ......................................................................................... 31 Single-Lens Reflex Medium Format ...................................................................................... 31 Schematic diagram of a Medium format camera .................................................................... 32 Hasselblad camera ............................................................................................................ 32 Twin-lens reflex ................................................................................................................. 32 Schematic diagram of a Twin-lens camera ........................................................................... 33 Rolleiflex camera ............................................................................................................... 33 View ................................................................................................................................. 33 3.13 Distinguishing between different types of special purpose cameras ................... 35 Widelux camera ................................................................................................................. 35 The Linhof Technorama camera .......................................................................................... 35 Image format of the Linhof Technorama camera ................................................................... 35 Panascope – peripheral oscillating camera.......................................................................... 36 This image was made using the Panascope camera. ............................................................. 36 Underwater ....................................................................................................................... 37 Nikonos V camera .............................................................................................................. 37 Aerial ............................................................................................................................... 38 3.14 Comparing the advantages and disadvantages of different camera types ............ 39 3.15 Choosing the right camera .......................................................................... 40 What camera do I need? ..................................................................................................... 40 What camera do I buy?....................................................................................................... 40 3.16 Choosing the right film for Film-Base Cameras ............................................... 42 Selecting the film for speed................................................................................................ 42 Selecting a film for colour temperature ............................................................................... 44 Colour............................................................................................................................... 45 Instant film ....................................................................................................................... 45 High Contrast Film ............................................................................................................. 45 Copyright 2008 RMIT Page 3 VART2960 Photography: An Introduction Module Three: Tools And Techniques Infrared Film ..................................................................................................................... 46 Chromogenic B&W Film (Ilford XP-2) ................................................................................... 46 3.17 Distinguishing between different types of lens filters ...................................... 47 Filters..............................................................................................................................
Load more

Recommended publications
  • The IQ Camera System
    The IQ camera system Unlimited creativity at your fingertips “I am amazed by the image quality I’ve gotten ‘out of the box’ with the Phase One IQ180 on the Phase One 645DF camera. I can create images with more detail and unique looks than with any other camera out there. It helps me develop styles unique to me,” Jens Honoré, lifestyle photographer. World leading image quality Realize your vision. The IQ180 digital back is the world’s most powerful commercial photographic capture device. With up to 80 megapixels resolution, 12.5 f-stops extreme dynamic range and Capture One, the world’s leading RAW converter, it delivers superior image quality for the world’s leading photographers. © Jens Honoré Touch the future With the launch of the IQ series digital backs, Phase One has stepped into the future of medium format photography. Every component in this new line of digital backs is new or has been redesigned compared with previous generations digital backs. The result is a digital camera back, which sets the industry standard with the highest resolution image sensor, the highest dynamic range, the first camera featuring a USB3 connection, a big 3.2” high resolution touch screen and much more…. The new IQ series digital backs offer up to 80 megapixels resolution The IQ series digital backs supports your photography in a variety of work captured in full-frame 645 format. With it you can capture images of conditions. You can capture your images with 80 megapixels resolution stunning quality with extreme detail reproduction. The high resolution or you can use the Sensor+ technology and go for a faster workflow, cap- You can familiarize yourself with the IQ digital back gives you maximum versatility with your images, ensuring high quality turing images with up to 20 megapixels resolution at 4 times higher ISO over the next pages and book a personal product and usage, even when you work with cropped images.
    [Show full text]
  • Still Photography
    Still Photography Soumik Mitra, Published by - Jharkhand Rai University Subject: STILL PHOTOGRAPHY Credits: 4 SYLLABUS Introduction to Photography Beginning of Photography; People who shaped up Photography. Camera; Lenses & Accessories - I What a Camera; Types of Camera; TLR; APS & Digital Cameras; Single-Lens Reflex Cameras. Camera; Lenses & Accessories - II Photographic Lenses; Using Different Lenses; Filters. Exposure & Light Understanding Exposure; Exposure in Practical Use. Photogram Introduction; Making Photogram. Darkroom Practice Introduction to Basic Printing; Photographic Papers; Chemicals for Printing. Suggested Readings: 1. Still Photography: the Problematic Model, Lew Thomas, Peter D'Agostino, NFS Press. 2. Images of Information: Still Photography in the Social Sciences, Jon Wagner, 3. Photographic Tools for Teachers: Still Photography, Roy A. Frye. Introduction to Photography STILL PHOTOGRAPHY Course Descriptions The department of Photography at the IFT offers a provocative and experimental curriculum in the setting of a large, diversified university. As one of the pioneers programs of graduate and undergraduate study in photography in the India , we aim at providing the best to our students to help them relate practical studies in art & craft in professional context. The Photography program combines the teaching of craft, history, and contemporary ideas with the critical examination of conventional forms of art making. The curriculum at IFT is designed to give students the technical training and aesthetic awareness to develop a strong individual expression as an artist. The faculty represents a broad range of interests and aesthetics, with course offerings often reflecting their individual passions and concerns. In this fundamental course, students will identify basic photographic tools and their intended purposes, including the proper use of various camera systems, light meters and film selection.
    [Show full text]
  • Film Camera That Is Recommended by Photographers
    Film Camera That Is Recommended By Photographers Filibusterous and natural-born Ollie fences while sputtering Mic homes her inspirers deformedly and flume anteriorly. Unexpurgated and untilled Ulysses rejigs his cannonball shaming whittles evenings. Karel lords self-confidently. Gear for you need repairing and that film camera is photographers use our links or a quest for themselves in even with Film still recommend anker as selections and by almost immediately if you. Want to simulate sunrise or sponsored content like walking into a punch in active facebook through any idea to that camera directly to use film? This error could family be caused by uploads being disabled within your php. If your phone cameras take away in film photographers. Informational statements regarding terms of film camera that is recommended by photographers? These things from the cost of equipment, recommend anker as true software gizmos are. For the size of film for street photography life is a mobile photography again later models are the film camera that is photographers stick to. Bag check fees can add staff quickly through long international flights, and the trek on entire body from carrying around heavy gear could make some break down trip. Depending on your goals, this concern make digitizing your analog shots and submitting them my stock photography worthwhile. If array passed by making instant film? Squashing ever more pixels on end a sensor makes for technical problems and, in come case, it may not finally the point. This sounds of the rolls royce of london in a film camera that is by a wide range not make photographs around food, you agree to.
    [Show full text]
  • Do Something Important.TM
    2.6X zoom in a cool, compact, capsule design with Advanced Photo System convenience. Do somethingwww.minolta.com important.TM www.minolta.com It’s All Within Your Grasp The VECTIS 260 makes picture-taking more fun for the whole family. The Advanced Photo System means easier operation and higher quality pictures, and a powerful 2.6X zoom expands your photo possibilities. Various automatic functions make it simple for everyone to take great pictures. It’s the compact camera that gives you more. ADVANCED PHOTO SYSTEM Get closer with 2.6X zoom! High-quality zoom lens adds variety to your photos. Powerful 2.6X Zoom A zoom lens this powerful gives you much greater versatility in framing your shots. You can take broad shots of the scenery, then zoom in for close-ups of the kids. The zoom range is a wide 25 — 65mm (equivalent to 31— 81mm in 35mm for- mat). For close-ups, you can move in as close as 1.64 ft. to your subject at any focal length, without having to set a special mode. Best of all, 25mm WIDE your photo will be sharp and clear, thanks to the Minolta high quality 4-element, 4-group zoom lens. 65mm TELE Greater ease and convenience Advanced Photo System makes photography more enjoyable — from start to finish! Index Prints for At-a-Glance Selection Drop-In Loading With photos this good, you’ll want to make reprints ... and now and Film Chamber Lock you can easily select the ones you want. With your pictures The ultimate in film loading you’ll receive an Index Print sheet, making it easy ease.
    [Show full text]
  • KODAK Advantix Films
    TECHNICAL DATA / ADVANCED PHOTO SYSTEM February 2002 • E-7003 KODAK ADVANTiX Films Welcome to the innovative world of the Advanced Photo Kodak offers three color negative films for the Advanced System and KODAK ADVANTiX Films! Photo System. These films share the following features: At the heart of the Advanced Photo System, KODAK ADVANTiX Films are truly hybrid products. They use Features Benefits breakthrough photographic emulsion and coating • KODAK Film Safe • Worry-free, drop-in loading technologies to deliver excellent image quality in the smaller Cassette • Automatic film threading and rewinding film format. • Safe storage of negatives At the same time, Kodak’s magnetics technology enables • Index print of all exposures coating the entire surface of the film with a transparent • Choice of picture • “Classic,” similar to 35 mm prints magnetic layer. This layer records digital information that formats on the same • “Group,” for slightly wider shots links all Advanced Photo System components through roll • “Pan,” for panoramic scenes information exchange (IX). IX permits communication • Film Status Indicator • Easy identification of status of between you, the camera, the film, and the photofinishing (FSI) on cassette film inside the cassette— unexposed, partially exposed, equipment in the lab that processes and prints your film. exposed, or processed ADVANTiX Films come in a unique elliptical film • Choice of film speed • Selection of 100-, 200-, or cassette called a KODAK Film Safe Cassette. A code 400-speed film number is assigned to each cassette and the film inside. The • Information Exchange • Exposure and print format data number enables automatic rematching of the cassette and (IX) recorded on the film to optimize film in photofinishing operations.
    [Show full text]
  • Bronica Sq-A-M.Pdf
    Congratulations on your choice of the Zenza Bronica SQ-Am single lens reflex camera which has been developed to provide the user with high quality performance, simple handling convenience and extremely useful versatility plus automatic motorized film winding and shutter cocking operations suitable for the professional photographer. Although the Zenza Bronica SQ-Am has been designed exclusively for motorized operations, it has, also, been developed as a complete modular "system" camera possessing complete interchangeability with the interchangeable lenses and accessories developed for the SQ and SQ-A models, on which the SQ-Am is also based, and, therefore, provides the user with a very high degree of motorization in daily operations, in addition to automatic film winding and shutter cocking actions. Although instructions following are based on a standard combination consisting of the SQ-Am main body with Zenzanon-S 80mm lens, Film Back SQ 120 and WaistLevel Finder S, the choice of the lens, film back and finder is left to the discretion of the photographer, who should choose those items best suited to the type of assignments contemplated. To obtain best results from the Zenza Bronica SQ-Am, may we suggest that you read this instruction manual through carefully, before you even touch the camera, as your pleasure in using the camera will be even greater if you thoroughly familiarize yourself with its working parts before loading your first roll of film. CONTENTS Specifications of the ZENZA 17. Interchanging Finders ................................23 BRONICA SQ-Am ......................................... 2 18. Waist-Level Finder and Parts of the ZENZA BRONICA Interchanging Magnifiers ..................................23 19.
    [Show full text]
  • FILM FORMATS ------8 Mm Film Is a Motion Picture Film Format in Which the Filmstrip Is Eight Millimeters Wide
    FILM FORMATS ------------------------------------------------------------------------------------------------------------ 8 mm film is a motion picture film format in which the filmstrip is eight millimeters wide. It exists in two main versions: regular or standard 8 mm and Super 8. There are also two other varieties of Super 8 which require different cameras but which produce a final film with the same dimensions. ------------------------------------------------------------------------------------------------------------ Standard 8 The standard 8 mm film format was developed by the Eastman Kodak company during the Great Depression and released on the market in 1932 to create a home movie format less expensive than 16 mm. The film spools actually contain a 16 mm film with twice as many perforations along each edge than normal 16 mm film, which is only exposed along half of its width. When the film reaches its end in the takeup spool, the camera is opened and the spools in the camera are flipped and swapped (the design of the spool hole ensures that this happens properly) and the same film is exposed along the side of the film left unexposed on the first loading. During processing, the film is split down the middle, resulting in two lengths of 8 mm film, each with a single row of perforations along one edge, so fitting four times as many frames in the same amount of 16 mm film. Because the spool was reversed after filming on one side to allow filming on the other side the format was sometime called Double 8. The framesize of 8 mm is 4,8 x 3,5 mm and 1 m film contains 264 pictures.
    [Show full text]
  • Camera Characteristics
    PENTAX Corporation 2-36-9, Maeno-cho, Itabashi-ku, Tokyo 174-8639, JAPAN (http://www.pentax.co.jp/) PENTAX Europe GmbH Julius-Vosseler-Strasse, 104, 22527 Hamburg, (European Headquarters) GERMANY (HQ - http://www.pentaxeurope.com) (Germany - http://www.pentax.de) PENTAX U.K. Limited PENTAX House, Heron Drive, Langley, Slough, Berks SL3 8PN, U.K. (http://www.pentax.co.uk) PENTAX France S.A.S. 12/14, rue Jean Poulmarch, 95106 Argenteuil Cedex, SLR Digital Camera FRANCE PENTAX Benelux B.V. (for Netherlands) Spinveld 25, 4815 HR Breda, NETHERLANDS (http://www.pentax.nl) (for Belgium & Luxembourg) Weiveldlaan 3-5, 1930 Zaventem, BELGIUM (http://www.pentax.be) PENTAX (Schweiz) AG Widenholzstrasse 1 Postfach 367 8305 Dietlikon, Operating Manual SWITZERLAND (http://www.pentax.ch) PENTAX Scandinavia AB P.O. Box 650, 75127 Uppsala, SWEDEN (http://www.pentax.se) PENTAX Imaging Company Operating Manual Operating A Division of PENTAX of America, Inc. (Headquarters) 600 12th Street, Suite 300 Golden, Colorado 80401, U.S.A. (Distribution & Service Center) 16163 West 45th Drive, Unit H Golden, Colorado 80403, U.S.A. (http://www.pentaximaging.com) PENTAX Canada Inc. 1770 Argentia Road Mississauga, Ontario L5N 3S7, CANADA (http://www.pentax.ca) http://www.pentax.co.jp/english • Specifications and external dimensions are subject to change without notice. 57526 Copyright © PENTAX Corporation 2005 01-200506 Printed in Philippines For optimum camera performance, please read the Operating Manual before using the camera. Thank you for purchasing the PENTAX L Digital Camera. Please read this manual before using the camera in order to get the most out of all the features and functions.
    [Show full text]
  • Irix 45Mm F1.4
    Explore the magic of medium format photography with the Irix 45mm f/1.4 lens equipped with the native mount for Fujifilm GFX cameras! The Irix Lens brand introduces a standard 45mm wide-angle lens with a dedicated mount that can be used with Fujifilm GFX series cameras equipped with medium format sensors. Digital medium format is a nod to traditional analog photography and a return to the roots that defined the vividness and quality of the image captured in photos. Today, the Irix brand offers creators, who seek iconic image quality combined with mystical vividness, a tool that will allow them to realize their wildest creative visions - the Irix 45mm f / 1.4 G-mount lens. It is an innovative product because as a precursor, it paves the way for standard wide-angle lenses with low aperture, which are able to cope with medium format sensors. The maximum aperture value of f/1.4 and the sensor size of Fujifilm GFX series cameras ensure not only a shallow depth of field, but also smooth transitions between individual focus areas and a high dynamic range. The wide f/1.4 aperture enables you to capture a clear background separation and work in low light conditions, and thanks to the excellent optical performance, which consists of high sharpness, negligible amount of chromatic aberration and great microcontrast - this lens can successfully become the most commonly used accessory that will help you create picturesque shots. The Irix 45mm f / 1.4 GFX is a professional lens designed for FujiFilm GFX cameras. It has a high-quality construction, based on the knowledge of Irix Lens engineers gained during the design and production of full-frame lenses.
    [Show full text]
  • Canon Lenses Canon Lenses from Snapshots to Great Shots
    final spine = 0.4625" Canon Lenses Lenses Canon From Snapshots to Great Shots You own a Canon DSLR, but which Canon lens is best for your shooting Jerod Foster is an style and your budget? This guide by pro photographer Jerod Foster editorial and travel From Snapshots to Great Shots Great Snapshots to From will help you learn the features of Canon lenses to capture the photographer and author of Sony NEX-6: From stunning pictures you want for a price that matches your needs. Snapshots to Great Shots; Foster starts with the basics of using lenses in the Canon lineup— Color: A Photographer’s Guide to Directing the Canon Lenses from kit, to prime, to wide angle, to telephoto, to zoom, and more. Whether it’s portraits, landscapes, sports, travel, or night photography, Eye, Creating Visual Depth, and Con- veying Emotion; and Storytellers: A you will have a better understanding of the different Canon lenses Photographer’s Guide to Developing and your choices for investing in them. In this guide you will: From Snapshots to Great Shots Themes and Creating Stories with • Master the key camera features that relate to lenses—depth Pictures. He also leads photography of field, perspective, and image stabilization workshops and is a photography professor at Texas Tech University. Visit • Learn the difference between full frame versus cropped sensors his website and read his popular and how they affect specific lenses photography blog at jerodfoster.com. • Understand best practices for maintaining your lenses and for taking better pictures • Accessorize
    [Show full text]
  • Selecting Cameras for UAV Surveys
    ARTICLE A REVIEW OF CAMERAS POPULAR AMONGST AERIAL SURVEYORS Selecting Cameras for UAV Surveys With the boom in the use of consumer-grade cameras on unmanned aerial vehicles (UAVs) for surveying and photogrammetric applications, this article seeks to review a range of different cameras and their critical attributes. Firstly, it establishes the most important considerations when selecting a camera for surveying. Secondly, the authors make a number of recommendations at various price points. While this list is not exhaustive, it is intended to present a line of reasoning that UAV practitioners should consider when selecting a camera for survey purposes. Weight, Velocity and Flight Time for Aerial Imaging Weight is an important consideration for aerial imaging that is often not a limiting factor for terrestrial photography. The growth of newer, higher-spec, low- weight cameras is therefore the focus of this article. In addition, the potential areal coverage of a survey is controlled by flight height, flight duration and UAV velocity – these become more tightly constrained with increased payload. Figure 1, Decrease in flight time with payload for a generic battery-powered multi-rotor UAV at a velocity of 6m/s (Bershadsky, 2016). In order to maximise flexibility in the selection of flight height, duration and velocity, weight must be kept to a minimum. A number of lightweight cameras for UAV use are reviewed below. Imaging parameters Sensor size is one of the key imaging parameters as this, along with focal length of the lens, is the core component in defining the ground sample distance (GSD) – the pixel size in the real world – of a survey configuration.
    [Show full text]
  • Digital Vs 35-Mm Photography to Convert Or Not to Convert?
    ORIGINAL ARTICLE Digital vs 35-mm Photography To Convert or Not to Convert? Mimi S. Kokoska, MD; John W. Currens, MD; Chris S. Hollenbeak, MA; J. Regan Thomas, MD; Brendan C. Stack, Jr, MD Objectives: To compare the quality of images gener- Results: The null hypothesis that there is no difference ated from a conventional 35-mm camera with those gen- between photographs taken with the various cameras was erated from various digital cameras; and to note the costs rejected (P,.001) for each of the image attributes. The im- of the cameras and ease of use. ages produced by the 35-mm camera (Nikon 6006) had the best overall quality, followed by the Olympus D600L, Design: A prospective, randomized, independent analy- Kodak DCS 315, and Olympus D320L digital cameras. Dif- sis of specific facial images taken with a 35-mm camera ferences in individual attributes between several of the cam- and 3 digital cameras by 3 facial plastic surgeons who eras in each category were statistically significant (P,.05). were blinded to camera type. Conclusions: The 35-mm camera produced the best over- Setting: An academic medical center. all image quality and ranked first for each of the indi- vidual attributes analyzed in this study. The Olympus Subjects: Thirteen volunteer subjects ranging from age D600L digital camera placed second in overall quality, 27 to 58 years. but there was no statistically significant difference in fo- cus, distortion, and resolution compared with the im- Main Outcome Measures: The overall quality, fo- ages generated by the 35-mm camera. The Olympus cus, distortion, trueness of color, resolution, contrast, and D600L digital camera also ranked second in color, con- presence of shadows were evaluated for each image.
    [Show full text]