PENTAX's SLR Camera History: the Heritage of a Field Camera
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Perfect Photo Suite
Perfect Photo Suite User Manual Copyright ©2015 on1, Inc. All Rights Reserved. Table of Contents Chapter 1: Welcome to Perfect Photo Suite 1 Chapter 2: Introduction 5 Using the Help System 6 Contacting onOne Software 7 Additional Help 8 System Requirements 9 Installation 10 Licensing and Registration 11 Opening Files 12 Smart Photos 14 Module Selector 15 Using as Standalone 16 Using with Adobe Photoshop 17 Using with Adobe Lightroom 18 Using with Apple Aperture 20 Using with Other Applications 22 Printing 23 Managing Extras 24 Preferences 27 Chapter 3: Perfect Browse 30 Getting Started 31 Browse Workspace 32 Using Perfect Browse 33 Photo Sources 34 Managing Files and Folders 35 Favorites 37 Albums 38 Recent Pane 39 Working in Thumbnail View 40 Persistent Thumbnail Cache 42 Working in Detail View 44 Navigating the Preview 45 Using the Info Pane 47 Metadata 48 Ratings, Labels and Likes 49 Filters 50 Sent to 51 Smart Photo History 52 Menus 53 Keyboard Shortcuts 56 Chapter 4: Perfect Layers 58 Getting Started 59 Perfect Layers Workspace 60 Perfect Layers Tool Well 61 Navigating the Preview 62 Navigator, Loupe, Histogram and Info 63 Preview Window Modes 65 Using the File Browser 66 Using Perfect Layers 69 Creating a New File and Adding Layers 70 Adjusting Canvas Size 71 Working with Layers 72 The Layers Pane 73 Transforming Layers 75 Crop Tool 76 Trimming Layers 78 Using Color Fill Layers 79 Perfect Eraser 80 Retouch Brush 81 Clone Stamp 82 Red-Eye Tool 83 Using the Masking Tools 84 Mask Preview Modes 86 Using the Masking Brush 87 Quick Mask -
Single-Use Duodenoscopes and Duodenoscopes with Disposable End Caps
REPORT ON EMERGING TECHNOLOGY Single-use duodenoscopes and duodenoscopes with disposable end caps Prepared by: ASGE TECHNOLOGY COMMITTEE Arvind J. Trindade, MD,1,* Andrew Copland, MD,2,* Amit Bhatt, MD,3 Juan Carlos Bucobo, MD, FASGE,4 Vinay Chandrasekhara, MD, FASGE,5 Kumar Krishnan, MD,6 Mansour A. Parsi, MD, MPH, FASGE,7 Nikhil Kumta, MD, MS,8 Ryan Law, DO,9 Rahul Pannala, MD, MPH, FASGE,10 Erik F. Rahimi, MD,11 Monica Saumoy, MD, MS,12 Guru Trikudanathan, MBBS,13 Julie Yang, MD, FASGE,14 David R. Lichtenstein, MD, FASGE, (Chair, Technology Committee)15 This document was reviewed and approved by the Governing Board of the American Society for Gastrointestinal Endoscopy. Background and Aims: Multidrug-resistant infectious outbreaks associated with duodenoscopes have been documented internationally. Single-use duodenoscopes, disposable distal ends, or distal end cap sealants could eliminate or reduce exogenous patient-to-patient infection associated with ERCP. Methods: This document reviews technologies that have been developed to help reduce or eliminate exogenous infections because of duodenoscopes. Results: Four duodenoscopes with disposable end caps, 1 end sheath, and 2 disposable duodenoscopes are re- viewed in this document. The evidence regarding their efficacy in procedural success rates, reduction of duode- noscope bacterial contamination, clinical outcomes associated with these devices, safety, and the financial considerations are discussed. Conclusions: Several technologies discussed in this document are anticipated to eliminate or reduce exogenous infections during endoscopy requiring a duodenoscope. Although disposable duodenoscopes can eliminate exog- enous ERCP-related risk of infection, data regarding effectiveness are needed outside of expert centers. Addition- ally, with more widespread adoption of these new technologies, more data regarding functionality, medical economics, and environmental impact will accrue. -
Sensor Zoom Min. Focusing Dimensions Est. Street Brand Model Mount(S) Format Range Distance (D X L) (In.) Weight Price
Sensor Zoom Min. Focusing Dimensions Est. Street Brand Model Mount(s) Format Range Distance (D x L) (in.) Weight Price Canon EF-S 18-200mm ƒ/3.5-5.6 IS Canon APS-C 11.1x 17.8 inches 3.1 x 6.4 20.9 oz. $699 Canon EF 28-300mm ƒ/3.5-5.6L IS USM Canon Full-Frame 10.7x 27.6 inches 3.6 x 7.2 59.2 oz. $2,449 Nikon 1 NIKKOR VR 10-100mm ƒ/4-5.6 Nikon 1 CX (1-inch) 10x Variable 2.4 x 2.8 10.5 oz. $549 Nikon 1 NIKKOR VR 10-100mm ƒ/4.5-5.6 PD-ZOOM Nikon 1 CX (1-inch) 10x Variable 3.0 x 3.7 18.2 oz. $749 Nikon AF-S DX NIKKOR 18-200mm ƒ/3.5-5.6G ED VR II Nikon DX (APS-C ) 11.1x 19.2 inches 3.0 x 3.8 19.8 oz. $649 Nikon AF-S DX NIKKOR 18-300mm ƒ/3.5-6.3G ED VR Nikon DX (APS-C) 16.7x 19.2 inches 3.0 x 3.8 19.4 oz. $699 Nikon AF-S DX NIKKOR 18-300mm ƒ/3.5-5.6G ED VR Nikon DX (APS-C) 16.7x Variable 3.3 x 4.7 29.3 oz. $999 Nikon AF-S NIKKOR 28-300mm ƒ/3.5-5.6G ED VR Nikon FX (Full-Frame) 10.7x 19.2 inches 3.3 x 4.5 28.2 oz. $949 Olympus M.Zuiko ED 14-150mm ƒ/4.0-5.6 II Micro Four Thirds Micro Four Thirds 10.7x 19.7 inches 2.5 x 3.3 10.0 oz. -
Introduction
CINEMATOGRAPHY Mailing List the first 5 years Introduction This book consists of edited conversations between DP’s, Gaffer’s, their crew and equipment suppliers. As such it doesn’t have the same structure as a “normal” film reference book. Our aim is to promote the free exchange of ideas among fellow professionals, the cinematographer, their camera crew, manufacturer's, rental houses and related businesses. Kodak, Arri, Aaton, Panavision, Otto Nemenz, Clairmont, Optex, VFG, Schneider, Tiffen, Fuji, Panasonic, Thomson, K5600, BandPro, Lighttools, Cooke, Plus8, SLF, Atlab and Fujinon are among the companies represented. As we have grown, we have added lists for HD, AC's, Lighting, Post etc. expanding on the original professional cinematography list started in 1996. We started with one list and 70 members in 1996, we now have, In addition to the original list aimed soley at professional cameramen, lists for assistant cameramen, docco’s, indies, video and basic cinematography. These have memberships varying from around 1,200 to over 2,500 each. These pages cover the period November 1996 to November 2001. Join us and help expand the shared knowledge:- www.cinematography.net CML – The first 5 Years…………………………. Page 1 CINEMATOGRAPHY Mailing List the first 5 years Page 2 CINEMATOGRAPHY Mailing List the first 5 years Introduction................................................................ 1 Shooting at 25FPS in a 60Hz Environment.............. 7 Shooting at 30 FPS................................................... 17 3D Moving Stills...................................................... -
I·,;T:A.Chuti-5 S Istutin
THE JAPANESE SOFTWARE INDUSTRY: A COMPARATIVE ANALYSIS OF SOFTWARE DEVELOPMENT STRATEGY AND TECHNOLOGY OF SELECTED CORPORATIONS by ROBERT W. ARFMAN A.B., Economics Middlebury College (1975) Submitted to the Alfred P. Sloan Schonol of Management and the School of Engineering in partial fulfillment of the requirements for the degree of MASTER OF SCIENCE IN THE MANAGEMENT OF TECHNOLOGY at the MASSACHUSETTS INSTITUTE OF TECHNOLOGY May 1988 Copyright Robert W. Arfman 1988 ALL RIGHTS RESERVED The author hereby grants M.I.T. permission to reproduce and to distribute copies of this thesis document in whole or in part. Signatu,- of Author__ Sloan School of Management May 12. 1988 Certified by Michael A. Cusumano Assispant ProAessor of Management Thesis Supervisor Accepted by cPeter P. Gil Acting Director, Management of Technology Program i·,;t:A.CHUTi-5 sISTUTiN O-TFPNW 01WOG1 JUN '3 1988 WARIES THE JAPANESE SOFTWARE INDUSTRY: A COMPARATIVE ANALYSIS OF SOFTWARE DEVELOPMENT STRATEGY AND TECHNOLOGY OF SELECTED CORPORATIONS by ROBERT W. ARFMAN Submitted to the Alfred P. Sloan School of Management and the School of Engineering on May 12, 1988 in partial fulfillment of the requirements for the degree of Master of Science in the Management of Technology ABSTRACT This thesis discusses the development of the Japanese software industry, beginning with corporate group structures, government support of the computer industry in general and the more recent specific promotion of the software industry and software development process technologies. The SIGMA project is presented in detail followed by a comparative analysis of major Japanese computer manufacturer development process R&D efforts. The current competitive environment is discussed and firms' strategies are compared. -
User Manual 0.6 MB
L IR-M Note: The 2S button will start shooting video on compatible Canon DSLR A cameras when in video mode, the T and W buttons will not work with INFRARED U Olympus E-system cameras, and the W/T button will not work with Pentax REMOTE N CONTROL A camera. WIRELESS SHUTTER ACTIVATION M Using Your IR-M as a Remote Trigger R E S away. To use your IR-M as a remote trigger, turn on your camera and follow U these steps: 1. Remove the plastic separator from the battery. Introduction 2. Set up your shot and make sure your camera is in focus. Thank you for choosing Vello. 3. Set your camera for remote triggering. For more information about the remote triggering feature, consult your camera’s manual. Congratulations on the purchase of your Vello IR-M infrared remote control. 4. Aim the remote at the camera’s infrared sensor and press the S button to This versatile remote control lets you wirelessly take photos, zoom, and release the shutter. is especially useful for preventing camera shake during long exposures and for Depending on your camera’s manufacturer and model, you may be able to taking self-portraits. It can also be used to trigger a remote camera when trigger the shutter with a two-second delay by pressing the 2S button. You shooting events. may also be able to zoom in and out by pressing the T and W buttons. For manual. from Canon, Nikon, Olympus, Sony, and Pentax. Precautions Note: Please see your camera’s user manual for complete instructions and supported features. -
Press Release
Press Release June 13, 2013 PENTAX Q7 The minimum sized interchangeable lens digital camera with an extra-large image sensor; the top-of-the-line model of the PENTAX Q series, available in 120 color combinations PENTAX RICOH IMAGING COMPANY, LTD. is pleased to announce the launch of the PENTAX Q7 digital lens-interchangeable camera. Developed as the top-of-the-line model of the PENTAX Q series, this new model is equipped with an image sensor much larger than those of its sister Q-series models for upgraded image quality, while retaining the super-compact, ultra-lightweight body that comfortably fits in the photographer’s palm. Launched as the flagship model of the popular PENTAX Q series , the PENTAX Q7 offers casual, carefree digital-SLR-quality photography to everyone. Thanks to a new 1/1.7-inch, back-illuminated CMOS image sensor — the largest in the Q series — the Q7 delivers image quality that has been much improved from its sister models. It also offers a host of the advanced features expected in a top-of-the-series model, including high-sensitivity shooting at a top sensitivity of ISO 12800 (compared to ISO 6400 for the Q10); improved shake-reduction performance; reduced operation time lag at start-up and between exposures; and effortless, user-friendly operation. In addition, it features an array of creative tools such as Bokeh Control and Smart Effect, which assist the photographer in easily creating more personalized images. Major Features 1. Extra-large 1/1.7-inch image sensor — the largest in the Q series Thanks to the incorporation of a new 1/1.7-inch, back-illuminated CMOS image sensor, the PENTAX Q7 boasts the finest image quality in the Q series. -
HONEYWELL PENTAX Cameras and Accessories
H O N E Y WELL PHOTOGRAPHIC PROD U C T S -J HONEYWELL PENTAX cameras and accessories HONEYWELL PENTAX SPOTMATIC with behind-the-Iens exposure systeJll The world's first single-lens-reflex camera with a behind-the-Iens exposure system, the Spotmatic is the crowning achievement of the Honeywell Pentax line. Absolute correct exposures are simple with the Spotmatic. Its two CdS sensors read light from the image focused on the ground glass the same amount of light that strikes the film plane. With any focal length lens, or with bellows, extension Honeywell Pentax Spotmatic, chrome finish, tubes, or filters proper exposure is automatic and extremely with filA Super-Takumar lens. accurate. The Spotmatic's metering system can be operated with one hand without taking the eye from the viewfinder by simply pushing a switch and centering a needle. And, for special effects, it's simple to change shutter speed or aperture for over- or under exposures. The same size and classic design as the famous Pentax H3v, the Spotmatic also features: eye-level pentaprism finder with Fresnel lens; central microprism and positive grid focusing; instant-return mirror; focal plane shutter; speeds from 1 to 1/ 1000 sec., plus Bulb on single non-rotating knob; ASA-Range from 20 to 1600; self timer; auto-reset counter; ratchet film-advance lever cocks shutter and advances counter; FP and X flash terminals, and threaded lens mount. With very fast Super-Takumar 50mm f/ 1.4 lens or 55mm f/ 1.8 Super-Takumar lens. Both lenses have instant-open fully automatic diaphragm, and manual depth-of-field preview In addition, the Super-Takumar 50mm f/ 1.4 lens is a 7-element lens, with a 46° angle of view, a minimum aperture of f/ 16 and uses 49mm filters. -
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 -
Filtering in Software
article.php Page 1 of 2 Filtering in software Why filter in camera when you can achieve the same results in post? Geoff Boyle takes a look at Tiffen’s DFX Filter Kit to see whether they really match the company’s optical filters. Article first published: July/August 2007 Using the center spot filter. With the infra-red filter. Tiffen has been threatening software that would emulate their filters for a very long time now. It’s been a kind of Holy Grail for DPs who shoot a lot of VFX and blue/green screen work. You want to shoot the main body of the film/commercial with filtration of some kind – I’ve always been partial to light Pro-Mist and/or very light Double Fogs – but you can’t use them on the VFX shots because they’ll bugger up the key. So what do you do? Shoot with the filters except for the VFX shots and trust the guys in post to match the look? Shoot with no filters and trust the guys in post to add the filtered look to the entire production? How do you communicate the look? Do the guys in post know what a Black Pro-Mist 1 looks like? Will they remember to add it? A long time ago, Tiffen started to work on software to emulate its filters, but it would only work on SGI machines and in Autodesk Flame. It required a huge amount of computing grunt and was never released. So imagine my surprise as I wandered around NAB this year and saw a finished domestic product – yes domestic! Not a really expensive piece of pro software, but software that costs between $99 and $499 depending on which version you get. -
The PENTAX K-1 Mark II: the New Standard of the 35Mm Full-Frame K Series
The PENTAX K-1 Mark II: the new standard of the 35mm full-frame K series Rich colors and subtle shades, and a beautiful bokeh and a well-defined sense of depth. When the photographer’s inspiration is truly reflected in all these elements, photographs will become more than mere records — they will evolve into truly impressive works of art. The PENTAX K-1 Mark II has been created as the flagship model that will fulfill this goal. It features a new, advanced image-processing system to deliver the beautiful image quality which all photographers demand. It produces images that are rich in color and gradation, high in resolution, and superb in bokeh rendition. The Pixel Shift Resolution System II — the PENTAX-original super-solution technology — now accommodates handheld photography. The AF system featuring a new algorithm assures high-precision focusing even with moving subjects. While inheriting the PENTAX K-1’s development concept, the PENTAX K1 Mark II has advanced technologies to near perfection. When your creativity is in complete harmony with the camera, your photography will truly come alive. Top sensitivity of ISO 819200 enhances image quality, and expands the creative boundaries of high-resolution digital SLR photography State-of-the-art imaging processing system Greatly improved image quality, even in high-sensitivity photography NEW To reproduce lively colors and rich gradations closeclose toto memorymemory colors in all sensitivity ranges, the PENTAX K-K-1 MarkMark IIII newlynewly incorporates an original accelerator unit, which efficientlyefficiently processes image signals output by the image sensor before sending them to the imaging engine. -
Australian Cinematographers Society V2.1 Now Releasedfirmware
australian cinematographer ISSUE #60 DECEMBER 2013 RRP $10.00 Quarterly Journal of the Australian Cinematographers Society www.cinematographer.org.au V2.1 Now ReleasedFirmware shootingHigh &frame much rate more! The future, ahead of schedule Discover the stunning versatility of the new F Series Shooting in HD and beyond is now available to many more content creators with the launch of a new range of 4K products from Sony, the first and only company in the world to offer a complete 4K workflow from camera to display. PMW-F5 PMW-F55 The result of close consultation with top cinematographers, the new PMW-F5 and PMW-F55 CineAlta cameras truly embody everything a passionate filmmaker would want in a camera. A flexible system approach with a variety of recording formats, plus wide exposure latitude that delivers superior super-sampled images rich in detail with higher contrast and clarity. And with the PVM-X300 monitor, Sony has not only expanded the 4K world to cinema applications but also for live production, business and industrial applications. Shoot, record, master and deliver in HD, 2K or 4K. The stunning new CineAlta range from Sony makes it all possible. PVM-X300X300 For more information, please email us at [email protected] pro.sony.com.au MESM/SO130904/AC CONTENTS BY DEFINITION of the Australian Cinematographers Society’s Articles of Association “a cinematographer is a person with technical expertise who manipulates light to transfer visual information by the use of a camera into aesthetic moving 38 images on motion picture film