(DSLR) Astrophotography Basics
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A Simple and Efficient Image Stabilization Method for Coastal Monitoring Video Systems
remote sensing Article A Simple and Efficient Image Stabilization Method for Coastal Monitoring Video Systems Isaac Rodriguez-Padilla 1,* , Bruno Castelle 1 , Vincent Marieu 1 and Denis Morichon 2 1 CNRS, UMR 5805 EPOC, Université de Bordeaux, 33615 Pessac, France; [email protected] (B.C.); [email protected] (V.M.) 2 SIAME-E2S, Université de Pau et des Pays de l’Adour, 64600 Anglet, France; [email protected] * Correspondence: [email protected] Received: 21 November 2019; Accepted: 21 December 2019; Published: 24 December 2019 Abstract: Fixed video camera systems are consistently prone to importune motions over time due to either thermal effects or mechanical factors. Even subtle displacements are mostly overlooked or ignored, although they can lead to large geo-rectification errors. This paper describes a simple and efficient method to stabilize an either continuous or sub-sampled image sequence based on feature matching and sub-pixel cross-correlation techniques. The method requires the presence and identification of different land-sub-image regions containing static recognizable features, such as corners or salient points, referred to as keypoints. A Canny edge detector (CED) is used to locate and extract the boundaries of the features. Keypoints are matched against themselves after computing their two-dimensional displacement with respect to a reference frame. Pairs of keypoints are subsequently used as control points to fit a geometric transformation in order to align the whole frame with the reference image. The stabilization method is applied to five years of daily images collected from a three-camera permanent video system located at Anglet Beach in southwestern France. -
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. -
AUTO LENS ADAPTER USER MANUAL LAE-CM-CEF Canon EF/EF-S Lens to Canon EOS-M Camera INTRODUCTION
AUTO LENS ADAPTER USER MANUAL LAE-CM-CEF Canon EF/EF-S Lens to Canon EOS-M Camera INTRODUCTION Thank you for purchasing the Vello LAE-CM-CEF Auto Lens Adapter – Canon EF/EF-S Lens to Canon EOS-M Camera. This adapter allows you to mount any Canon EF or EF-S lens to a Canon EOS-M camera. With an EF or EF-S lens mounted to a Canon EOS-M camera using this adapter, all automatic functions, such as auto focus and auto exposure, are available and fully operational. A removable tripod mount collar with a ¼" socket is included. 2 CONTENTS INCLUDE • Vello LAE-CM-CEF Auto Lens Adapter - Canon EF/EF-S Lens to Canon EOS-M Camera • Front and rear caps • Removable tripod mount collar • User manual 3 INTRODUCTION The Vello Auto Lens Adapter – Canon EF/EF-S Lens to Canon EOS-M Camera can expand the arsenal of lenses for your Canon EOS-M camera using lenses you already own. With this adapter, you can mount any Canon EF or EF-S lens to a Canon EOS-M camera. Just attach the adapter to your EF or EF-S lens, then mount the lens and adapter to your Canon EOS-M camera. 4 When using an EF lens, there will be a crop factor of 1.6x, so that the apparent focal length of the lens will be 1.6x of the actual focal length. With EF-S lenses, there is no apparent change in the focal length. All camera functions will operate normally, including auto focus, auto exposure, and touch-screen modes. -
Image Stabilization by Larry Thorpe Preface Laurence J
Jon Fauer’s www.fdtimes.com The Journal of Art, Technique and Technology in Motion Picture Production Worldwide October 2010 Special Article Image Stabilization by Larry Thorpe Preface Laurence J. Thorpe is National Marketing Executive for Broadcast & Communications, Canon USA Inc. He joined Canon U.S.A.’s Broadcast and Communications division in 2004, working with with networks, broadcasters, mobile production companies, program producers, ad agencies, and filmmakers. Before Canon, Larry spent more than 20 years at Sony Electronic, begining 1982. He worked for RCA’s Broadcast Division from 1966 to 1982, where he developed a range of color television cameras and telecine products. In 1981, Thorpe won the David Sarnoff Award for his innovation in developing the first automatic color studio camera. From 1961 to 1966, Thorpe worked in the Designs Dept. of the BBC in London, England, where he participated in the development of a range of color television studio products. Larry has written more than 70 technical articles. He is a lively and wonderfully articulate speaker, in great demand at major industry events. This article began as a fascinating lecture at NAB 2010. Photo by Mark Forman. Introduction Lens and camera shake is a significant cause of blurred images. These disturbances can come as jolts when a camera is handheld or shoulder mounted, from vibrations when tripod-mounted on an unstable platform or in windblown environments, or as higher vibration frequencies when operating from vehicles, boats, and aircraft. A variety of technologies have been applied in the quest for real-time compensation of image unsteadiness. 1. Mechanical: where the lens-camera system is mounted within a gyro-stabilized housing. -
A Map of the Canon EOS 6D
CHAPTER 1 A Map of the Canon EOS 6D f you’ve used the Canon EOS 6D, you know it delivers high-resolution images and Iprovides snappy performance. Equally important, the camera offers a full comple- ment of automated, semiautomatic, and manual creative controls. You also probably know that the 6D is the smallest and lightest full-frame dSLR available (at this writing), yet it still provides ample stability in your hands when you’re shooting. Controls on the back of the camera are streamlined, clearly labeled, and within easy reach during shooting. The exterior belies the power under the hood: the 6D includes Canon’s robust autofocus and metering systems and the very fast DIGIC 5+ image processor. There’s a lot that is new on the 6D, but its intuitive design makes it easy for both nov- ice and experienced Canon shooters to jump right in. This chapter provides a roadmap to using the camera controls and the camera menus. COPYRIGHTED MATERIAL This chapter is designed to take you under the hood and help fi nd your way around the Canon EOS 6D quickly and easily. Exposure: ISO 100, f/2.8, 1/60 second, with a Canon 28-70mm f/2.8 USM. 005_9781118516706-ch01.indd5_9781118516706-ch01.indd 1515 55/14/13/14/13 22:09:09 PMPM Canon EOS 6D Digital Field Guide The Controls on the Canon EOS 6D There are several main controls that you can use together or separately to control many functions on the 6D. Once you learn these controls, you can make camera adjustments more effi ciently. -
Farewell to the Kodak DCS Dslrs
John Henshall’s Chip Shop FAREWELL TO THE KODAK DCS John Henshall looks at Kodak’s legacy as the end of its DSLR production is announced . hen Kodak introduced the the world’s first totally portable Digital W Camera System – the DCS – in 1991 it established Eastman Kodak as the world leader of professional digital image capture. Fourteen years later, Kodak has just announced that it is ending production 1992: DCS200 of Digital Single Lens Reflex cameras. The DCS was a product launched ahead of its potential market, but one which indelibly marked the start of the future of photography. Kodak was smart. It housed its DCS in something photographers were already at home with: a Nikon F3 camera body. All the F3’s functions were retained, and the DCS used standard Nikon lenses. Only the 1991: The original Kodak DCS [100] and DSU 2005: Last of the line – the DCS ProSLR/c focusing screen was changed. A new Kodak-produced digital The relative sensitivity of the camera back was fixed to the Nikon F3 DCS camera back was ISO100. body. A light sensitive integrated circuit Exposure could be ‘pushed’ by – Charge Coupled Device – was fitted one, two or three ƒ-stops to into its film plane. ISO200, 400 or 800 on an This CCD image sensor had an individual shot-by-shot basis. incredible 1.3 million individual pixels It was not necessary to m o c . – more than four times as many as in expose a whole ‘roll of film’ at e r t n television cameras – arranged in a the same ISO rating, as was e c - i 1024 x 1280 pixel rectangle measuring necessary when shooting film. -
Camera Control Pro 2 Reference Manual Overview Using Camera
Camera Control Pro 2 Reference Manual Overview This section describes the structure of this manual, outlines the main func- tions of Camera Control Pro 2, and gives the system requirements and instal- lation instructions. Using Camera Control Pro 2 This section describes how to use Camera Control Pro 2. Appendices This section lists preferences and describes how to uninstall the software. Important Information on the Product Key The product key may be found on the CD-ROM case. Do not lose this key. It is required when installing or upgrading this software and can not be replaced if lost. xxxxx–xxx–xxxx–xxxx–xxxx–xxxx Product key SB8A02(B1) 6MS541B1-02 Overview Using Camera Control Pro Appendices Overview Introduction 3 About This Manual 6 System Requirements Windows 7 Macintosh 8 Installing Camera Control Pro 9 Windows 10 Macintosh 16 Getting Started Starting and Exiting Camera Control Pro 21 Getting Help 28 Software Updates 29 Click a page number to view. Return to fi rst page Camera Control Pro 2 2 Overview Using Camera Control Pro Appendices Introduction 1/3 This manu al has been written to help you take advantage of the many features in- cluded in Camera Control Pro 2. Be sure to read this manual thoroughly, and to keep it handy when using Camera Control Pro 2. Conventions This manual assumes basic knowledge of cameras and Windows or Finder operations. Refer to the documentation provided with your computer or camera for more information. Where the Windows and Macintosh versions of the program use diff ering commands, the Windows menu name is listed fi rst, followed by the Macintosh menu name in square brackets. -
LEICA SL-SYSTEM Technical Data
LEICA SL-SYSTEM Technical Data. Camera Type LeiCa SL (Typ 601) Order No. 10 850 Mirrorless Fullframe System Camera Current Firmware 2.0 Lenses Lens Mount Leica L-Mount Applicable lenses Leica Vario-Elmarit-SL 24–90 mm f/2.8–4 ASPH. Order No. 11 176 Leica APO-Vario-Elmarit-SL 90–280 mm f/2.8–4 Order No. 11 175 Leica Summilux-SL 50 mm f/1.4 ASPH. Order No. 11 180 Lenses from the Leica T Camera System, Leica M-Lenses with Leica M-Adapter T, Leica S-Lenses with Leica S-Adapter L, Leica R-Lenses with Leica R-Adapter L and Leica Cine lenses with Leica PL-Adapter L. Sensor Type 24-MP-CMOS-Sensor (24 × 36 mm) Resolution Full Frame (24 MP): 6000 × 4000 Pixel, APS-C (10 MP): 3936 × 2624 Pixel Filter IR-Filter, no Lowpass Filter ISO ISO 50–ISO 50000 Sensor Cleaning Provided Processor Type Leica Maestro II series Internal RAM 2 GB: 33 DNGs or 30 JPEGs and DNGs image Image Data Format JPEG, DNG Colordepth 14 bit (DNG), 8 bit (JPEG) JPEG Color Space Adobe RGB, ECI RGB, sRGB Motion File Format MP4, MOV Resolution 4K (4096 × 2160) @ 24 fps; 4K (3840 × 2160) @ 25 and 30 fps; 1080 @ 24, 25, 30, 50, 60, 100 and 120 fps; 720 @ 24, 25, 30, 50, 60, 100 and 120 fps Bitrate 8 bit (recording); 10 bit (HDMI not recording) Color sampling 4:2:2/10 bit (HDMI only); 4:2:0/8 bit (recording on SD card) Video L-Log selectable Audio Manual/Auto; Stereo microphone, 48 kHz, 16 bit; Wind elimination Audio external via Audio-Adapter Audio-In (3.5 mm phone jack), Audio-Out (3.5 mm phone jack) Movie Length Max. -
Image Stabilization
⊕⊖ Computational ⊗⊘ Photography Image Stabilization Jongmin Baek CS 478 Lecture Mar 7, 2012 Wednesday, March 7, 12 Overview • Optical Stabilization • Lens-Shift • Sensor-Shift • Digital Stabilization • Image Priors • Non-Blind Deconvolution • Blind Deconvolution Wednesday, March 7, 12 Blurs in Photography Wednesday, March 7, 12 Blurs in Photography • Defocus Blur 1/60 sec, f/1.8, ISO 400 Wednesday, March 7, 12 Blurs in Photography • Handshake 2 sec, f/10, ISO 100 Wednesday, March 7, 12 Blurs in Photography • Motion Blur 1/60 sec, f/2.2, ISO 400 Wednesday, March 7, 12 Blurs in Photography • Some blurs are intentional. • Defocus blur: Direct viewer’s attention. Convey scale. • Motion blur: Instill a sense of action. • Handshake: Advertise how unsteady your hand is. • Granted, jerky camera movement is sometimes used to convey a sense of hecticness in movies. Wednesday, March 7, 12 How to Combat Blur • Don’t let it happen in the first place. • Take shorter exposures. • Tranquilize your subject, or otherwise make it still. • Stop down. • Sometimes you have to pick your poison. • Computational optics? Wednesday, March 7, 12 How to Combat Handshake You can train yourself to be steady. figures stolen from Sung Hee Park Wednesday, March 7, 12 How to Combat Handshake Use a heavier camera. figures stolen from Sung Hee Park Wednesday, March 7, 12 Optical Image Stabilization • Fight handshake. • Lens-Shift Image Stabilization • Vary the optical path to the sensor. • Sensor-Shift Image Stabilization • Move the sensor to counteract motion. Wednesday, March -
EF100-400Mm F/4.5-5.6L IS II USM
EF100-400mm f/4.5-5.6L IS II USM COPY ENG Instructions Thank you for purchasing a Canon product. Equipped with an Image Stabilizer, the Canon 6. Manual focusing is available after the subject EF100-400mm f/4.5-5.6L IS II USM is a high- comes into focus in autofocus mode (ONE performance telephoto zoom lens, for use with EOS SHOT AF). cameras. 7. Operational feel of the zoom ring can be ●● “IS” stands for Image Stabilizer. adjusted. ●● “USM” stands for Ultrasonic Motor. 8. Hood features circular polarizing filter adjustment window which allows adjustment of the circular Features polarizing filter while the hood is attached to the 1. Equipped with an Image Stabilizer that provides lens. an image stabilization effect equivalent to a 9. A tripod mount can be attached to the lens. shutter speed 4 stops* faster (when the focal 10. Circular aperture for producing beautiful length is set to 400 mm and when used with the softfocus images. EOS-1D X). COPY11. Can be used with EF1.4x III/EF2x III extenders. Also, a third Image Stabilizer mode effective for 12. Tight seal structure provides excellent dustproof shooting irregularly moving subjects. and drip-proof performance. However, it is 2. Use of fluorite and Super UD lens elements unable to provide complete protection from dust giving superior definition. and moisture. 3. ASC (Air Sphere Coating) reduces flare and * Image stabilization performance based on CIPA ghosting. (Camera & Imaging Products Association) Standards. 4. Using a fluorine coating on the foremost and rearmost lens surfaces allows adhered dirt to be removed more easily than before. -
Hasselblad V to Fuji GFX Speedbosster Press
Metabones® Introduces Hasselblad V to Fuji G mount (GFX) Speed Booster® Press Release n Los Angeles, CA, USA, Aug 16, 2019: Caldwell Photographic Inc. and Metabones® are pleased to announce a new Speed Booster® Ultra 0.71x, exclusively designed for the exciting new Fuji GFX medium format camera. The initial version is specifically optimized for use with the famous Hasselblad V series lenses. This new Speed Booster uses an advanced 6-element design to achieve excellent optical performance at apertures up to f/1.4 when paired with the Hasselblad 110mm f/2 lens. Although the Fuji GFX uses an extremely large sensor, it is nevertheless significantly smaller than the 6x6 cm film format. The new Speed Booster Ultra 0.71x is an ideal match for 6x6 Hasselblad V lenses since they can now be fully utilized as they were originally designed when mounted to the Fuji GFX. Unlike 35mm format lenses used on the Fuji GFX via glassless adapters, Hasselblad V lenses adapted to the GFX via the Speed Booster Ultra are completely free of disturbing vignetting and other corner issues. In addition to increasing the field of view and lens speed, the new Speed Booster Ultra achieves superb performance by being carefully matched to the unique optical characteristics of the Hasselblad V lenses. All of the Hasselblad V lenses were analyzed for exit pupil size and location, and this was fully taken into account in the new Speed Booster Ultra for the Fuji GFX. This approach dictated the use of extremely large lens elements throughout in order to avoid vignetting and maintain high quality imagery into the corners, but the results speak for themselves. -
Innovation and Recurring Shifts in Industrial Leadership: Three Phases of Change and Persistence in the Camera Industry*
Innovation and Recurring Shifts in Industrial Leadership: Three Phases of Change and Persistence in the Camera Industry* Hyo Kang† Jaeyong Song‡ Forthcoming in Research Policy 46(2), 2017 Abstract This study examines factors underlying three phases of change/persistence in industrial leadership in the segment of interchangeable-lens cameras over the past century. During this period there were two major phases of leadership change, both associated with the emergence of innovations involving major discontinuities in the industry’s core technologies. First, Japan won market leadership from Germany in the mid-1960s after commercializing the single-lens reflex (SLR) camera that replaced the previously dominant German rangefinder camera. Second, in the late-2000s, Japanese latecomer firms and a Korean firm developed Mirrorless cameras, which allowed them to capture the majority of market shares from the incumbent Japanese leaders. We also examine the long period (about 60 years) between these two phases of change, during which leading Japanese firms were able to sustain their market leadership despite the digital revolution from the 1980s to 1990s. This paper explores the factors influencing these contrasting experiences of change and persistence in industry leadership. The analysis integrates several aspects of sectoral innovation systems – i.e., windows of opportunity associated with technology, demand, and institution – as well as the strategies of incumbents and latecomer firms. The conclusions highlight the complex and diverse combinations and importance of the factors that help explain the patterns of leadership shift. Keywords: catch-up cycle; industrial leadership; innovation; interchangeable-lens camera JEL: N70, L63, O33 * This research has been supported by the Center for Global Business and Research, Seoul National University.