Systematic Survey on Digital Still Cameras 2
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Digital Still Camera Image File Format Standard
Digital Still Camera Image File Format Standard (Exchangeable image file format for Digital Still Cameras: Exif) Version 2.1 June 12, 1998 Japan Electronic Industry Development Association (JEIDA) This standard makes no warranty, express or implied, with respect to the use of any intellectual property, such as patents, copyrights and trademarks, belonging to any corporation or individual. Nor does this standard make any warranty regarding system reliability or product liability. Windows™ is a registered trademark of Microsoft Corporation in the United States and elsewhere. FlashPix™ is a registered trademark of Eastman Kodak Company. Revision History This "Digital Still Camera Image File Format Standard" is issued as a standard for the image file format (Exif: Exchangeable image file format) used in digital still cameras and related systems. It was first published in October 1996 as Version 1.0i. Then in May 1997, Version 1.1ii was issued, adding specifications for optional attribute information as well as stipulations relating to format implementation, in addition to the mandatory specifications of Version 1.0. The desire for a uniform file format standard for the image data stored by digital still cameras has increased as these cameras have grown in popularity. At the same time, with the broadening application of this technology, a similar desire has arisen for uniformity of the attribute information that can be recorded in a file. The Version 2.0iii makes improvements to the Exif format for greater ease of use, while allowing for backward compatibility with products of manufacturers currently implementing Exif Version 1.x or considering its future implementation. -
User Manual Hasselblad CF Digital Camera Back Range C O N T E N T S
User Manual Hasselblad CF Digital Camera Back Range C O N T E N T S Introduction 3 5 MENU—ISO, White balance, Media, Browse 31 1 General overview 6 Menu system overview 31 Parts, components and control panel 8 Navigating the menu system 31 Initial setup 10 Language choice 33 Shooting and storage modes 11 ISO 33 White balance 34 2 Initial General Settings 14 Media 34 Overview of menu structure 15 Browse 35 Setting the menu language 17 6 MENU—Storage 36 Delete 37 3 Storage overview – Format 42 working with media and batches 18 Copy 42 Batc hes 18 Batch 43 Navigating media and batches 18 Default Approval Level 44 Creating new batches 20 Using Instant Approval Architecture 21 7 MENU—Settings 45 Reading and changing approval status 22 User Interface 46 Browsing by approval status 22 Camera 48 Deleting by approval status 23 Capture sequence 50 Connectivity 51 4 Overview of viewing, deleting Setting exposure time/sequence 54 and copying images 24 Miscellaneous 56 Basic image browsing 24 About 57 Choosing the current batch 24 Default 58 Browsing by approval status 24 Zooming in and out 24 8 Multishot 59 Zooming in for more detail 25 Thumbnail views 25 General 59 Preview modes 26 Histogram 27 9 Flash/Strobe 60 Underexposure 27 General 60 Even exposure 27 TTL 60 Overexposure 27 Full-details 27 10 Cleaning 61 Battery saver mode 28 Full-screen mode 28 11 Equipment care, service, Overexposure indicator 28 technical spec. 63 Deleting images 29 General 63 Transferring images 29 Technical specifications 64 Inset photo on cover: © Francis Hills/www.figjamstudios.com.Not all the images in this manual were taken with a Hasselblad CF. -
Library of Congress Classification
T TECHNOLOGY (GENERAL) T Technology (General) Periodicals and societies. By language of publication 1 English 2 French 3 German 4 Other languages (not A-Z) (5) Yearbooks see T1+ 6 Congresses Industrial museums, etc. see T179+ International exhibitions see T391+ 7 Collected works (nonserial) 8 Symbols and abbreviations Dictionaries and encyclopedias 9 General works 10 Bilingual and polyglot Communication of technical information 10.5 General works Information centers 10.6 General works Special countries United States 10.63.A1 General works 10.63.A2-Z By region or state, A-Z 10.65.A-Z Other countries, A-Z 10.68 Risk communication 10.7 Technical literature 10.8 Abstracting and indexing Language. Technical writing Cf. QA42 Mathematical language. Mathematical authorship 11 General works 11.3 Technical correspondence 11.4 Technical editing 11.5 Translating 11.8 Technical illustration Cf. Q222 Scientific illustration Cf. T351+ Mechanical drawing 11.9 Technical archives Industrial directories 11.95 General works By region or country United States 12 General works 12.3.A-Z By region or state, A-Z Subarrange each country by Table T4a 12.5.A-Z Other regions or countries, A-Z Subarrange each country by Table T4a 13 General catalogs. Miscellaneous supplies 14 Philosophy. Theory. Classification. Methodology Cf. CB478 Technology and civilization 14.5 Social aspects Class here works that discuss the impact of technology on modern society For works on the role of technology in the history and development of civilization see CB478 Cf. HM846+ Technology as a cause of social change History Including the history of inventions 14.7 Periodicals, societies, serials, etc. -
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. -
Megaplus Conversion Lenses for Digital Cameras
Section2 PHOTO - VIDEO - PRO AUDIO Accessories LCD Accessories .......................244-245 Batteries.....................................246-249 Camera Brackets ......................250-253 Flashes........................................253-259 Accessory Lenses .....................260-265 VR Tools.....................................266-271 Digital Media & Peripherals ..272-279 Portable Media Storage ..........280-285 Digital Picture Frames....................286 Imaging Systems ..............................287 Tripods and Heads ..................288-301 Camera Cases............................302-321 Underwater Equipment ..........322-327 PHOTOGRAPHIC SOLUTIONS DIGITAL CAMERA CLEANING PRODUCTS Sensor Swab — Digital Imaging Chip Cleaner HAKUBA Sensor Swabs are designed for cleaning the CLEANING PRODUCTS imaging sensor (CMOS or CCD) on SLR digital cameras and other delicate or hard to reach optical and imaging sur- faces. Clean room manufactured KMC-05 and sealed, these swabs are the ultimate Lens Cleaning Kit in purity. Recommended by Kodak and Fuji (when Includes: Lens tissue (30 used with Eclipse Lens Cleaner) for cleaning the DSC Pro 14n pcs.), Cleaning Solution 30 cc and FinePix S1/S2 Pro. #HALCK .........................3.95 Sensor Swabs for Digital SLR Cameras: 12-Pack (PHSS12) ........45.95 KA-11 Lens Cleaning Set Includes a Blower Brush,Cleaning Solution 30cc, Lens ECLIPSE Tissue Cleaning Cloth. CAMERA ACCESSORIES #HALCS ...................................................................................4.95 ECLIPSE lens cleaner is the highest purity lens cleaner available. It dries as quickly as it can LCDCK-BL Digital Cleaning Kit be applied leaving absolutely no residue. For cleaing LCD screens and other optical surfaces. ECLIPSE is the recommended optical glass Includes dual function cleaning tool that has a lens brush on one side and a cleaning chamois on the other, cleaner for THK USA, the US distributor for cleaning solution and five replacement chamois with one 244 Hoya filters and Tokina lenses. -
Hugostudio List of Available Camera Covers
Exakta VX 1000 W/ P4 Finder Hugostudio List of Exakta VX 500 W/ H3.3 Finder Available Camera Covers Exakta VX IIa V1-V4 W/ P2.2 Finder Exakta VX IIa V5-V7-V8 _P3.3 Finder (1960) Exakta VX IIa V6 W/ H3 SLR Exakta VX IIb W/ P3 Asahiflex IIb Exakta VX IIb W/ P4 Finder Canon A-1 Exakta Varex VX V1 - V2 Canon AE-1 Exakta-Varex VX IIa V1-V4 Canon AE-1 Program Exakta Varex VX V4 V5 Canon AV-1 Exakta Varex VX W/ Finder P1 Canon EF Fujica AX-3 Canon EX Auto Fujica AZ-1 Canon F-1 Pic Req* Fujica ST 601 Canon F-1n (New) pic Req* Fujica ST 701 Canon FT QL Fujica ST 801 Canon FTb QL Fujica ST 901 Canon FTb n QL Kodak Reflex III Canon Power Winder A Kodak Reflex IV Canon TL-QL Kodak REflex S Canon TX Konica FT-1 Canonflex Konica Autoreflex T3 Chinon Memotron Konica Autoreflex T4 Contax 137 MA Konica Autoreflex TC Contax 137 MD Leica R3 Contax 139 Quartz Leica R4 Contax Motor Drive W6 Leica Motor Winder R4 Contax RTS Leicaflex SL Contax RTS II Mamiya ZE-2 Quartz Contax139 Quartz Winder Minolta Auto Winder D Edixa Reflex D Minolta Auto Winder G Exa 500 Minolta Motor Drive 1 Exa I, Ia, Ib Minolta SR 7 Exa II Minolta SRT 100 Exa IIa Minolta SRT 101 Exa Type 6 Minolta SRT 202 Exa VX 200 Minolta X370 Exa Version 2 to 5 Minolta X370s Exa Version 6 Minolta X570 Exa Version I Minolta X700 Exakta 500 Minolta XD 11, XD 5, XD 7, XD Exakta Finder H3 Minolta XE-7 XE-5 Exakta Finder: prism P2 Minolta XG-1 Exakta Finder: prism P3 Minolta XG 9 Exakta Finder: prism P4 Minolta XG-M Exakta Kine Minolta XG7, XG-E Exakta Meter Finder Minolta XM Exakta RTL1000 Miranda AII -
Cameras • Video Camera
Outline • Pinhole camera •Film camera • Digital camera Cameras • Video camera Digital Visual Effects, Spring 2007 Yung-Yu Chuang 2007/3/6 with slides by Fredo Durand, Brian Curless, Steve Seitz and Alexei Efros Camera trial #1 Pinhole camera pinhole camera scene film scene barrier film Add a barrier to block off most of the rays. • It reduces blurring Put a piece of film in front of an object. • The pinhole is known as the aperture • The image is inverted Shrinking the aperture Shrinking the aperture Why not making the aperture as small as possible? • Less light gets through • Diffraction effect High-end commercial pinhole cameras Adding a lens “circle of confusion” scene lens film A lens focuses light onto the film $200~$700 • There is a specific distance at which objects are “in focus” • other points project to a “circle of confusion” in the image Lenses Exposure = aperture + shutter speed F Thin lens equation: • Aperture of diameter D restricts the range of rays (aperture may be on either side of the lens) • Any object point satisfying this equation is in focus • Shutter speed is the amount of time that light is • Thin lens applet: allowed to pass through the aperture http://www.phy.ntnu.edu.tw/java/Lens/lens_e.html Exposure Effects of shutter speeds • Two main parameters: • Slower shutter speed => more light, but more motion blur – Aperture (in f stop) – Shutter speed (in fraction of a second) • Faster shutter speed freezes motion Aperture Depth of field • Aperture is the diameter of the lens opening, usually specified by f-stop, f/D, a fraction of the focal length. -
About Introduction
ABOUT TRIPOD, HEAD AND VIBRATION MARCH 2005 PAGE 1 OF 24 ABOUT This article is an update of my previous writing about vibration in camera support. Even with some decades of advancement in camera technologies, stable support with tripod is the most promis- ing way to get a sharper picture. Even with fancy control algorithms for vibration reduction, using tripod is the only practical solution that gives us freedom in photography. True understanding is about a different manner of doing something. When you understand how much you lose by not using tripod, you may not be able to make a single shot without one. It was first published in January 2004 and this is the 4th major revision. [Testing tripod-head vibration at the Markins office using Nikon D2H, laser vibrometer and data acquisition system] March 2005 at Boston, Charlie Kim INTRODUCTION I begin this article showing two most common and well known examples of camera related vibrations. One is about MLU (Mirror Lock Up Function) and the other is about the need for a higher shutter speed. Mirror Lock Up Mirror and shutter are the main moving parts inside the camera. If there is no external vibration, those are the only source of camera vibration. The vibration caused by mirror collision is quite big in most cameras.1 Follow- ing graphs suggest how much the vibrations caused by it would be. 1 John Shaw said that the camera without MLU is not a camera. ABOUT TRIPOD, HEAD AND VIBRATION MARCH 2005 PAGE 2 OF 24 For this measurement Hasselblad 205FCC with standard 80mm lens was used.2 mirror up 40 40 1st curtain stop 1st curtain stop 2nd curtain stop 20 35.4um 2nd curtain stop 20 5.1um 0 0 -20 -20 1/8 sec mirror down 1/8 sec VIBRATION AMPLITUDE [um] VIBRATION AMPLITUDE[um] -40 -40 mirror down 0.1 0.2 0.3 0.4 0.5 0.0 0.1 0.2 0.3 0.4 TIME IN SECOND TIME IN SECOND You can see the start and stop signs of every event. -
User's Manual
C22EN0391 E ENGLISH Digital Single Lens Reflex Camera USER’S MANUAL This manual explains how to use SIGMA SD10 digital SLR camera. Please refer to the SIGMA Photo Pro User Guide, which is available in the PDF format of the supplied CD-ROM, to get information about installation of SIGMA Photo Pro software to your computer, connection between camera and computer and for detailed explanation of SIGMA Photo Pro software. 115 Thank you for purchasing the Sigma Digital Autofocus Camera The Sigma SD10 Digital SLR camera is a technical breakthrough! It is powered by the Foveon® X3™ image sensor, the world’s first image sensor to capture red, green and blue light at each and every pixel. A high-resolution digital single-lens reflex camera, the SD10 delivers superior-quality digital images by combining Sigma’s extensive interchangeable lens line-up with the revolutionary Foveon X3 image sensor. You will get the greatest performance and enjoyment from your new SD10 camera’s features by reading this instruction manual carefully before operating it. Enjoy your new Sigma camera! SPECIAL FEATURES OF THE SD10 ■ Powered by Foveon X3 technology. ■ Uses a lossless compression RAW data format to eliminate image deterioration, giving superior pictures without sacrificing original image quality. ■ "Sports finder" covers action outside the immediate frame. ■ Dust protector keeps dust from adhering to the image sensor. ■ Mirror-up mechanism and depth-of-field preview button support advanced photography techniques. • Please keep this instruction booklet handy for future reference. Doing so will allow you to understand and take advantage of the camera’s unique features at any time. -
The Development and Growth of British Photographic Manufacturing and Retailing 1839-1914
The development and growth of British photographic manufacturing and retailing 1839-1914 Michael Pritchard Submitted for the degree of Doctor of Philosophy Department of Imaging and Communication Design Faculty of Art and Design De Montfort University Leicester, UK March 2010 Abstract This study presents a new perspective on British photography through an examination of the manufacturing and retailing of photographic equipment and sensitised materials between 1839 and 1914. This is contextualised around the demand for photography from studio photographers, amateurs and the snapshotter. It notes that an understanding of the photographic image cannot be achieved without this as it directly affected how, why and by whom photographs were made. Individual chapters examine how the manufacturing and retailing of photographic goods was initiated by philosophical instrument makers, opticians and chemists from 1839 to the early 1850s; the growth of specialised photographic manufacturers and retailers; and the dramatic expansion in their number in response to the demands of a mass market for photography from the late1870s. The research discusses the role of technological change within photography and the size of the market. It identifies the late 1880s to early 1900s as the key period when new methods of marketing and retailing photographic goods were introduced to target growing numbers of snapshotters. Particular attention is paid to the role of Kodak in Britain from 1885 as a manufacturer and retailer. A substantial body of newly discovered data is presented in a chronological narrative. In the absence of any substantive prior work this thesis adopts an empirical approach firmly rooted in the photographic periodicals and primary sources of the period. -
CO 52.03 Hallas.Cs
Still from Decodings (dir. Michael Wallin, US, 1988) AIDS and Gay Cinephilia Roger Hallas In Positiv, the opening short film in Mike Hoolboom’s six-part compilation film Panic Bodies (Canada, 1998), the viewer is faced with a veritable excess of the visual. The screen is divided into four equal parts, suggesting both a wall of video monitors and also Warhol’s famed simultaneous projections. Hoolboom, a Toronto-based experimental filmmaker who has been HIV posi- tive since 1988, appears in the top right-hand frame as a talking head, tightly framed and speaking directly to the camera. At once poignant and wry, his monologue explores the corporeal experi- ence of living with AIDS: “The yeast in my mouth is so bad it turns all my favorite foods, even chocolate-chocolate-chip ice cream, into a dull metallic taste like licking a crowbar. I know then that my body, my real body, is somewhere else: bungee jumping into mine shafts stuffed with chocolate wafers and whipped cream and blueberry pie and just having a good time. You know?” Each of the other three frames is filled with a montage of images from contemporary Hollywood films, B-movies, vintage porn, home movies, ephemeral films, as well as Hoolboom’s own experimen- tal films. These multiple frames feed the viewer a plethora of diverse visual sensations. They include disintegrating and morphing Copyright © 2003 by Camera Obscura Camera Obscura 52, Volume 18, Number 1 Published by Duke University Press 85 86 • Camera Obscura bodies (from The Hunger [dir. Tony Scott, UK, 1983], Terminator 2 [dir. -
Design of Digital Cameras Which Pursues Essence of "Camera"
IS&T's 1998 PICS Conference IS&T's 1998 PICS Conference Copyright 1998, IS&T Design of Digital Cameras which Pursues Essence of "Camera" Tsuneaki Kadosawa / Yukichi Niwa Imaging Business Group, Canon Inc. Tokyo, Japan Overview film camera when producing postcard-sized prints) Reviewing a digital camera from the viewpoint of - Highly portable (i.e., that its exterior be completely the "tool of taking picture", Canon developed a flat and that it be small enough to fit into a shirt new camera "PowerShotA5" which has comparable pocket) operability and portability to a conventional camera. And it - Ease of use (i.e., that it be able to be used in the same also achieved in the quality of picture, that can be rivaled to way as an ordinary film camera and that users be conventional film photo at post card size print. able to take successive pictures at sufficiently short intervals) Introduction - Compatibility (i.e., that it be able to be connected to other multimedia devices and that it be compatible The ease with which digital cameras may be used together in with a wide range of PCs and other cameras) conjunction with PCs and communications networks and the greater range of freedom they provide in terms of image size Development of the PowerShot A5 and the taking of pictures when compared to camcorders or conventional film cameras have made these devices one of - Photo quality the central tools driving the multimedia revolution and have contributed to a rapid rise in demand for digital cameras. When one considers Yet the VGA digital cameras which served as the driving the picture quality force behind the increasing popularity of these devices have provided by ordinary limitations in that the largest true photo-quality print size is silver halide film, one only about the size of an ordinary business card, thus sees that in order to making them poorly suited for regular use as a full-function provide the same level Fig.