DOCSLIB.ORG

Joe Farace Barry Staver

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Joe Farace Barry Staver Better Available Light Digital Photography This page intentionally left blank Better Available Light Digital Photography How to Make the Most of Your Night and Low-Light Shots Second Edition Joe Farace Barry Staver AMSTERDAM • BOSTON • HEIDELBERG • LONDON NEW YORK • OXFORD • PARIS • SAN DIEGO SAN FRANCISCO • SINGAPORE • SYDNEY • TOKYO Focal Press is an imprint of Elsevier Associate Acquisitions Editor: Valerie Geary Publishing Services Manager: George Morrison Project Manager: Mónica González de Mendoza Marketing Manager: Kate lanotti Cover Design: Eric DeCicco Cover image: © Joe Farace Focal Press is an imprint of Elsevier 30 Corporate Drive, Suite 400, Burlington, MA 01803, USA Linacre House, Jordan Hill, Oxford OX2 8DP, UK © 2009 Joe Farace and Barry Staver. Published by Elsevier, Inc. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher. Permissions may be sought directly from Elsevier’s Science & Technology Rights Department in Oxford, UK: phone: (+44) 1865 843830, fax: (+44) 1865 853333, E-mail: [email protected]. You may also complete your request online via the Elsevier homepage (http://elsevier.com), by selecting “Support & Contact” then “Copy- right and Permission” and then “Obtaining Permissions.” Recognizing the importance of preserving what has been written, Elsevier prints its books on acid-free paper whenever possible. Library of Congress Cataloging-in-Publication Data Farace, Joe. Better available light digital photography : how to make the most of your night and low-light shots / Joe Farace, Barry Staver. p. cm. Includes index. ISBN 978-0-240-80999-1 (pbk. : alk. paper) 1. Available light photography. 2. Photography–Digital techniques. I. Staver, Barry, 1948– II. Title. TR590.F367 2008 778.7’6—dc22 2008009894 British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library. ISBN: 978-0-240-80999-1 For information on all Focal Press publications visit our website at www.books.elsevier.com 08 09 10 11 12 5 4 3 2 1 Printed in China Working together to grow libraries in developing countries www.elsevier.com | www.bookaid.org | www.sabre.org Contents Introduction ix The “gasp factor” ix This one’s for you xi It’s all about the photographs xii What’s new xii Chapter 1 What is available light? 1 The golden hour 2 Zap! 7 Weather tips from Barry 7 Light is light 8 What is exif and what is it good for? 13 Artifi cial light 15 Painting with light 19 Artifi cial natural light 21 The philadelphia story 22 Out of the past: fi lm noir 23 Moulin rouge! 24 Flash in the pan 26 Chapter 2 Basic exposure 29 The age of aquarius 31 Light and color 37 Meet the histogram 40 The perfect exposure 42 Really available light 43 Creating high dynamic range images 45 HDR in Photoshop 47 Other HDR software 49 HDR fi les from scanned fi lm 51 What does it all mean? 53 Chapter 3 Digital noise: What it is and how to deal with it 55 Noise comes from many sources 57 Chip size vs. Noise 58 Shutter speed vs. ISO speed 59 vi Contents Do a noise test 60 Built-in noise suppression 60 Noise-reduction software 63 Got noise? 64 Picture code 66 Keepin’ it neat 67 Visual infi nity 68 Applied science fi ction 69 The imaging factory 70 Stoic STOIK 71 Noise in motion 72 Taking action against noise 74 Noise in print 77 Our take on noise 78 Chapter 4 White balance techniques 81 Light is light? 82 Real-world color balance 84 AWB: color-temperature range of approximately 4000–8000 k 86 Daylight: approximately 5200 K 87 Shade: approximately 8000 K 88 Cloudy: approximately 6000 K 89 Fluorescent light 90 Tungsten light: approximately 3200 K 91 Flash: approximately 5400 K 92 Manual 94 Facing lighting challenges indoors 95 On location 99 Black and white? 102 In-camera monochrome color effects 106 No more fi lm storage 109 Chapter 5 Fast lenses 111 Zoom vs. prime lenses 114 Case study: canon’s 85 mm f/1.2 L lens 117 One more time, boys 122 Image-stabilization lenses 124 Case study: fun in acapulco 124 In-body stabilization 130 Does it matter? 132 What about depth of fi eld? 132 Chapter 6 Tripods and other camera supports 137 Standing on three legs 138 It’s made of what? 142 Carbon-fi ber choices 143 Contents vii Legs and feet 146 Heads and columns 147 The tripod bottom line 150 Monopods 151 Panorama heads 155 Alternate supports 159 Chapter 7 Available light photography at weddings 161 The new wedding photography 165 New technology = new opportunities 170 Wedding-day coverage 170 Off to the reception 176 Chapter 8 RAW-image-fi le capture 181 Paper or plastic? 181 What’s behind door no. 1 184 Making the decision 186 Pros and cons 188 JPEG advantages 188 JPEG disadvantages 188 RAW advantages 189 RAW disadvantages 189 Digital fi lm? 189 Raw software 192 Adobe camera raw 194 Workfl ow: pictures, you’ve got pictures 195 Sort ’em out 196 Did somebody say distribution? 198 Embed copyright with your fi les 199 Glossary 203 Index 217 This page intentionally left blank Introduction When making photographs, never forget the “Gasp Factor.” —Dick Stolley, former Time-Life managing editor When learning and refi ning their skills, most photographers progress through three distinct phases. The fi rst stage occurs immediately after they get their fi rst “good” camera and begin discovering the potential of the medium. During this time, novice shooters photographically explore their world with a high level of enthusiasm. Every new batch of images they examine con- tains photographs that look much better than the photographer ever imagined they could. Unfortunately, this blissful period doesn’t last long and is quickly replaced by the next period. In phase two, the shooter’s level of enthusiasm is still high, but is diminished when reviewing his or her newest captures only to discover that they are much worse than expected. As photographers continue to improve their skills by reading pub- lications such as Digital Photographer and Shutterbug, attend- ing workshops and seminars, and practicing their art, they eventually reach the fi nal phase. At this level, the image that photographers see in their camera’s viewfi nder is exactly the same thing that appears on the camera’s LCD screen or computer monitor. Although reaching this phase can be fulfi lling, some of the magic is gone. If you would like to experience some of the same thrill of discovery that occurred during the fi rst phase of your photographic education, we would like to suggest that you photograph when the available light may not be so available. The “Gasp Factor” When you turn the pages of magazines, books, and newspapers, do you ever notice how some images just grab you? These great photographs are unique; they are different. They literally force you to stop and take a second look at them. When confronted by this kind of photograph, do you sometimes wonder, “How was that taken?” Perhaps you just think, “I wish I could do that.” The goal of this book is to answer both the question and the wish. We will take you behind the scenes and show you how many different kinds of available light photographs were made x Introduction and in the telling we hope to help you improve the photographs you make using available light. Dick Stolley, who was by many reports the best managing editor at Time-Life, once told People magazine’s contributing photo- graphers that a successful photograph elicited a “Gasp Factor” from the viewer. These photographs can literally take your breath away. They tug at your heart or hit you in the gut, stirring emo- tions of joy, love, hate, sadness, or anger. Take a few minutes to visualize one or more of the iconic images in our recent history: fl ag raising at Iwo Jima, the Hindenburg explosion, sailor kissing a nurse in Times Square as World War II ended, Lee Harvey Oswald being shot by Jack Ruby, John Kennedy, Jr., saluting at his father’s funeral, the handgun execution in Saigon, or one of the Twin Towers in mid-collapse. Specifi cally, recall in your mind’s eye any Pulitzer Prize–winning photograph. These images stop us in our tracks as we react on an emotional level to their content. The reaction to most Pulitzers is usually on the serious side of the spectrum—anger and sadness—because it’s often the nature of the news business. Is it possible to get these kinds of emotional reactions to our everyday photography? You bet it is! Our premise is that the proper use of lighting is one of the main ingredients to successful, eye-catching photography. In this book, we’ll show you how to improve your use of lighting. Mr. Stolley went on to say that if the image stopped the reader, forced them to take a second look at it, to read the story’s head- line and then perhaps the rest of the story, the photograph passed his “Gasp Factor” test. After all, the goal at all publications is getting people to read the content and Stolley believed that the process was led by great photography. Our goal is simplifi ed, because we’re not writing headlines and stories, just wanting our images to rise above the overcrowded snapshot maze. Often the best photographs—the “Gasp Factor” ones—are taken under less than ideal conditions.
Load more

Recommended publications
  • Capture4vr: from VR Photography to VR Video
    Capture4VR: From VR Photography to VR Video Christian Richardt Peter Hedman Ryan S. Overbeck University of Bath University College London Google LLC [email protected] [email protected] [email protected] Brian Cabral Robert Konrad Steve Sullivan Facebook Stanford University Microsoft [email protected] [email protected] [email protected] ABSTRACT from VR photography to VR video that began more than a century Virtual reality (VR) enables the display of dynamic visual content ago but which has accelerated tremendously in the last five years. with unparalleled realism and immersion. However, VR is also We discuss both commercial state-of-the-art systems by Facebook, still a relatively young medium that requires new ways to author Google and Microsoft, as well as the latest research techniques and content, particularly for visual content that is captured from the real prototypes. Course materials will be made available on our course world. This course, therefore, provides a comprehensive overview website https://richardt.name/Capture4VR. of the latest progress in bringing photographs and video into VR. ACM Reference Format: Ultimately, the techniques, approaches and systems we discuss aim Christian Richardt, Peter Hedman, Ryan S. Overbeck, Brian Cabral, Robert to faithfully capture the visual appearance and dynamics of the Konrad, and Steve Sullivan. 2019. Capture4VR: From VR Photography to real world, and to bring it into virtual reality to create unparalleled VR Video. In Proceedings of SIGGRAPH 2019 Courses. ACM, New York, NY, realism and immersion by providing freedom of head motion and USA,2 pages. https://doi.org/10.1145/3305366.3328028 motion parallax, which is a vital depth cue for the human visual system.
    [Show full text]
  • Creating a Realistic VR Experience Using a Normal 360-Degree Camera 14 December 2020, by Vicky Just
    Creating a realistic VR experience using a normal 360-degree camera 14 December 2020, by Vicky Just Dr. Christian Richardt and his team at CAMERA, the University of Bath's motion capture research center, have created a new type of 360° VR photography accessible to amateur photographers called OmniPhotos. This is a fast, easy and robust system that recreates high quality motion parallax, so that as the VR user moves their head, the objects in the foreground move faster than the background. This mimics how your eyes view the real world, OmniPhotos takes 360 degree video footage taken with creating a more immersive experience. a rotating selfie stick to create a VR experience that includes motion parallax. Credit: Christian Richardt, OmniPhotos can be captured quickly and easily University of Bath using a commercially available 360° video camera on a rotating selfie stick. Using a 360° video camera also unlocks a Scientists at the University of Bath have developed significantly larger range of head motions. a quick and easy approach for capturing 360° VR photography without using expensive specialist OmniPhotos are built on an image-based cameras. The system uses a commercially representation, with optical flow and scene adaptive available 360° camera on a rotating selfie stick to geometry reconstruction, which is tailored for real capture video footage and create an immersive VR time 360° VR rendering. experience. Dr. Richardt and his team presented the new Virtual reality headsets are becoming increasingly system at the international SIGGRAPH Asia popular for gaming, and with the global pandemic conference on Sunday 13th December 2020.
    [Show full text]
  • A Digital Astrophotography Primer - OR - This Is NOT Your Daddy’S SLR!
    A Digital Astrophotography Primer - OR - This is NOT your Daddy’s SLR! Page 1 of 22 Table of Contents A Digital Astrophotography Primer...........................................................................................................................................................1 Table of Contents.......................................................................................................................................................................................2 Introduction............................................................................................................................................................................................3 What is an SLR, anyways? ....................................................................................................................................................................3 SLR, DSLR, What’s the Difference?.....................................................................................................................................................4 The Viewfinder ......................................................................................................................................................................................4 The Focus Mechanism ...........................................................................................................................................................................5 The Capture Medium .............................................................................................................................................................................6
    [Show full text]
  • Cognition: the Limit to Organization Change; a Case Study of Eastman Kodak
    COGNITION: THE LIMIT TO ORGANIZATION CHANGE; A CASE STUDY OF EASTMAN KODAK A THESIS Presented to The Faculty of the Department of Economics and Business The Colorado College In Partial Fulfillment of the Requirements for the Degree Bachelor of Arts By Noah Simon April 2011 COGNITION: THE LIMIT TO ORGANIZATION CHANGE; A CASE STUDY OF EASTMAN KODAK Noah Simon April 2011 LAS: Leadership Abstract The following thesis examines an incumbent firm affected by change. It seeks to deepen the understanding of the dynamic capabilities model by proposing cognition and not previous resource deployment is the limit of change. Two similar companies, Eastman Kodak and Polaroid will be compared during the shift from film to digital photography to determine what separated the two companies. KEYWORDS: (Organizational cognition, dynamic capabilities, path dependency, cognition, perception) TABLE OF CONTENTS ABSTRACT ACKNOWLEDGEMENTS 1 INTRODUCTION 1 2 LITERATURE REVIEW 6 2.1 Dynamic Capabilities...................................................................................... 7 2.1.1 How does a company survive?.............................................................. 7 2.1.2 What are the effects of core competencies?.......................................... 8 2.1.3 How are established companies affected by change?........................... 9 2.2 The Cognitive Perspective.............................................................................. 10 2.2.1 What does a path dependency mean for the individual?....................... 10 2.2.2 What
    [Show full text]
  • Capture, Reconstruction, and Representation of the Visual Real World for Virtual Reality
    Capture, Reconstruction, and Representation of the Visual Real World for Virtual Reality Christian Richardt1[0000−0001−6716−9845], James Tompkin2[0000−0003−2218−2899], and Gordon Wetzstein3[0000−0002−9243−6885] 1 University of Bath [email protected] https://richardt.name/ 2 Brown University james [email protected] http://jamestompkin.com/ 3 Stanford University [email protected] http://www.computationalimaging.org/ Abstract. We provide an overview of the concerns, current practice, and limita- tions for capturing, reconstructing, and representing the real world visually within virtual reality. Given that our goals are to capture, transmit, and depict com- plex real-world phenomena to humans, these challenges cover the opto-electro- mechancial, computational, informational, and perceptual fields. Practically pro- ducing a system for real-world VR capture requires navigating a complex design space and pushing the state of the art in each of these areas. As such, we outline several promising directions for future work to improve the quality and flexibility of real-world VR capture systems. Keywords: Cameras · Reconstruction · Representation · Image-Based Rendering · Novel-view synthesis · Virtual reality 1 Introduction One of the high-level goals of virtual reality is to reproduce how the real world looks in a way which is indistinguishable from reality. Achieving this arguably-quixotic goal requires us to solve significant problems across capture, reconstruction, and represen- tation, and raises many questions: “Which camera system should we use to sample enough of the environment for our application?”; “How should we model the world and which algorithm should we use to recover these models?”; “How should we store the data for easy compression and transmission?”, and “How can we achieve simple and high-quality rendering for human viewing?”.
    [Show full text]
  • Photography Techniques Intermediate Skills
    Photography Techniques Intermediate Skills PDF generated using the open source mwlib toolkit. See http://code.pediapress.com/ for more information. PDF generated at: Wed, 21 Aug 2013 16:20:56 UTC Contents Articles Bokeh 1 Macro photography 5 Fill flash 12 Light painting 12 Panning (camera) 15 Star trail 17 Time-lapse photography 19 Panoramic photography 27 Cross processing 33 Tilted plane focus 34 Harris shutter 37 References Article Sources and Contributors 38 Image Sources, Licenses and Contributors 39 Article Licenses License 41 Bokeh 1 Bokeh In photography, bokeh (Originally /ˈboʊkɛ/,[1] /ˈboʊkeɪ/ BOH-kay — [] also sometimes heard as /ˈboʊkə/ BOH-kə, Japanese: [boke]) is the blur,[2][3] or the aesthetic quality of the blur,[][4][5] in out-of-focus areas of an image. Bokeh has been defined as "the way the lens renders out-of-focus points of light".[6] However, differences in lens aberrations and aperture shape cause some lens designs to blur the image in a way that is pleasing to the eye, while others produce blurring that is unpleasant or distracting—"good" and "bad" bokeh, respectively.[2] Bokeh occurs for parts of the scene that lie outside the Coarse bokeh on a photo shot with an 85 mm lens and 70 mm entrance pupil diameter, which depth of field. Photographers sometimes deliberately use a shallow corresponds to f/1.2 focus technique to create images with prominent out-of-focus regions. Bokeh is often most visible around small background highlights, such as specular reflections and light sources, which is why it is often associated with such areas.[2] However, bokeh is not limited to highlights; blur occurs in all out-of-focus regions of the image.
    [Show full text]
  • Real-Time Sphere Sweeping Stereo from Multiview Fisheye Images
    Real-Time Sphere Sweeping Stereo from Multiview Fisheye Images Andreas Meuleman Hyeonjoong Jang Daniel S. Jeon Min H. Kim KAIST Abstract A set of cameras with fisheye lenses have been used to capture a wide field of view. The traditional scan-line stereo (b) Input fisheye images algorithms based on epipolar geometry are directly inap- plicable to this non-pinhole camera setup due to optical characteristics of fisheye lenses; hence, existing complete 360◦ RGB-D imaging systems have rarely achieved real- time performance yet. In this paper, we introduce an effi- cient sphere-sweeping stereo that can run directly on multi- view fisheye images without requiring additional spherical (c) Our panorama result rectification. Our main contributions are: First, we intro- 29 fps duce an adaptive spherical matching method that accounts for each input fisheye camera’s resolving power concerning spherical distortion. Second, we propose a fast inter-scale bilateral cost volume filtering method that refines distance in noisy and textureless regions with optimal complexity of O(n). It enables real-time dense distance estimation while preserving edges. Lastly, the fisheye color and distance im- (a) Our prototype (d) Our distance result ages are seamlessly combined into a complete 360◦ RGB-D Figure 1: (a) Our prototype built on an embedded system. image via fast inpainting of the dense distance map. We (b) Four input fisheye images. (c) & (d) Our results of om- demonstrate an embedded 360◦ RGB-D imaging prototype nidirectional panorama and dense distance map (shown as composed of a mobile GPU and four fisheye cameras. Our the inverse of distance).
    [Show full text]
  • Besut Campus Virtual Reality (Vr) 360 Degree Panoramic View
    BESUT CAMPUS VIRTUAL REALITY (VR) 360 DEGREE PANORAMIC VIEW MUHAMMAD NAUFAL BIN FARID BACHELOR OF INFORMATION TECHNOLOGY (INFORMATIC MEDIA) WITH HONOURS UNIVERSITI SULTAN ZAINAL ABIDIN 2018 BESUT CAMPUS VIRTUAL REALITY (VR) 360 DEGREE PANORAMIC VIEW MUHAMMAD NAUFAL BIN FARID Bachelor Of Information Technology (Informatic Media) With Honours Universiti Sultan Zainal Abidin,Terengganu,Malaysia DECEMBER 2018 DECLARATION I hereby declare that this report is based on my original work except for quotations and citations, which have been duly acknowledged. I also declare that it has not been previously or concurrently submitted for any other degree at Universiti Sultan Zainal Abidin or other institutions ________________________________ Name : Muhammad Naufal bin Farid Date : 23 December 2018 i CONFIRMATION This is to confirm that: The research conducted and the writing of this report was under my supervision. ________________________________ Name : Dr Ismahafezi bin Ismail Tarikh : 23 December 2018 ii DEDICATION In the Name of Allah, the Most Gracious and the Most Merciful. Alhamdulillah, I thank God for His grace and grace, I can prepare and complete this report successfully. I am grateful and would like to express my sincere gratitude to my supervisor, Dr Ismahafezi bin Ismail for his invaluable guidance, continuous encouragement and constant support in making this research possible. I really appreciate his guidance from the initial to the final level that enabled me to develop an understanding of this project thoroughly. Without his advice and assistance, it would be a lot tougher for completion. I also sincerely thanks for the time spent proofreading and correcting my mistakes. I acknowledge my sincere indebtedness and gratitude to my parents for their love, dream and sacrifice throughout my life.
    [Show full text]
  • Arxiv:2103.05842V1 [Cs.CV] 10 Mar 2021 Generators to Produce More Immersive Contents
    LEARNING TO COMPOSE 6-DOF OMNIDIRECTIONAL VIDEOS USING MULTI-SPHERE IMAGES Jisheng Li∗, Yuze He∗, Yubin Hu∗, Yuxing Hany, Jiangtao Wen∗ ∗Tsinghua University, Beijing, China yResearch Institute of Tsinghua University in Shenzhen, Shenzhen, China ABSTRACT Omnidirectional video is an essential component of Virtual Real- ity. Although various methods have been proposed to generate con- Fig. 1: Our proposed 6-DoF omnidirectional video composition tent that can be viewed with six degrees of freedom (6-DoF), ex- framework. isting systems usually involve complex depth estimation, image in- painting or stitching pre-processing. In this paper, we propose a sys- tem that uses a 3D ConvNet to generate a multi-sphere images (MSI) representation that can be experienced in 6-DoF VR. The system uti- lizes conventional omnidirectional VR camera footage directly with- out the need for a depth map or segmentation mask, thereby sig- nificantly simplifying the overall complexity of the 6-DoF omnidi- rectional video composition. By using a newly designed weighted sphere sweep volume (WSSV) fusing technique, our approach is compatible with most panoramic VR camera setups. A ground truth generation approach for high-quality artifact-free 6-DoF contents is proposed and can be used by the research and development commu- nity for 6-DoF content generation. Index Terms— Omnidirectional video composition, multi- Fig. 2: An example of conventional 6-DoF content generation sphere images, 6-DoF VR method 1. INTRODUCTION widely available high-quality 6-DoF content that
    [Show full text]
  • I798 JACKSON Jackson, Phil, 1349 Jackson, Thomas Penfield, Ro3 8
    I798 JACKSON INDEX INDEX JORDAN MCGRATH CASE & TAYLOR, INC. I799 798, I2oI, I266, I52I, i601; Thrille~ Japan Advertising Agency Association, 466, Jennings, Peter, 95, 523 Joe Camel, 311, 316, 336, 539, 690, 760, Johnson, Ray, 77 (Durham, North Carolina). See under r520; "Thrille1;" Io92 469, 878 Jenny Craig International. See under Craig 1212, 1369, 1694 Johnson, Robert Wood, Jr., 880, 881, 882 Harttnan Jackson, Phil, 1349 Japan Advertising Council, 468 Jeno's Pizza, 623, 1234, 1235 Joe Chemo, 336 Johnson, Robert Wood, Sr., 880 John W. Shaw Advertising. See under Shaw Jackson, Reggie, 148r, I482 Japan Air Lines, 898, 900, 1462 Jensen, Thomas, 525 Joe Isuzu, 114, II4, 457, 475, 522 Johnson, Samuel, 749 John Wanamaker & Company. See under Jackson, Thomas Penfield, ro3 8 Japan Audit Bureau of Circulation Jenson, Nicolas, 1580, 1583 foe Palooka, 729 Johnson, Samuel Curtis, 884, 886, 888 Wanamaker Jackson & Perkins, 1673 Association, 466 Jenson typefaces, 1580, 1583, 1584 Joe Robbie Stadiun1, 335 Johnson, William H., 139 "Join the Dodge rebellion," 305 Jacksonville Jaguars, 3 3 5 japan Marketing Association, 466 Jeopardy!, 1426. See also color plate in "Jogger," 940 Johnson, William R., 730 "Join the people who've joined the Army," Jackson Wain Agency, 1071 144, 238, I437 Japan Newspaper Advertising Agency volume one John, W.A.P., 791 Mead Johnson & Co1npany, 57, 210, 880 1050 Jack Tinker & Partners. See under Tinker Association, 466 Jep et Carre, 618 "John and Marsha" (Freberg), 623, 824 Johnson & Johnson, 582, 880-83; Ammirati Joint Policy Com1nittee for Broadcast Talent Jacob Ruppert, Inc. See under Ruppert Jardine Matheson & Company, 301 ]e Reviens, 1202 John Birch Society, 1676 Puris Lintas and, 967; Batten Barton Union Relations, 99 Jacobs, Alan, 197 Jarreau, Al, 1395 Andrew Jergens Company: Cunningham & John Brown & Partners.
    [Show full text]
  • Joseph Ciaglia, Barbara London, John Upton, Ken Kobre and Betsy
    00 0789731207_fm.qxd 4/6/04 2:16 PM Page i Absolute Beginner’s Guide to Digital Photography Joseph Ciaglia, Barbara London, John Upton, Ken Kobré, and Betsy Brill with Peter Kuhns 800 East 96th Street, Indianapolis, Indiana 46240 00 0789731207_fm.qxd 4/6/04 2:16 PM Page ii Absolute Beginner’s Guide to Digital Executive Editor Photography Candace Hall Copyright 2004 by Que Publishing Acquisitions Editor All rights reserved. No part of this book shall be reproduced, stored in a retrieval Karen Whitehouse system, or transmitted by any means, electronic, mechanical, photocopying, record- Development ing, or otherwise, without written permission from the publisher. No patent liability Editor is assumed with respect to the use of the information contained herein. Although Karen Whitehouse every precaution has been taken in the preparation of this book, the publisher and author assume no responsibility for errors or omissions. Nor is any liability assumed Managing Editor for damages resulting from the use of the information contained herein. Charlotte Clapp International Standard Book Number: 0-7897-3120-7 Project Editor Library of Congress Catalog Card Number: 2004100876 George Nedeff Printed in the United States of America Copy Editor Karen Whitehouse First Printing: April 2004 Indexer 07 06 05 04 4321 Mandie Frank Trademarks Production Editor All terms mentioned in this book that are known to be trademarks or service marks Seth Kerney have been appropriately capitalized. Que Publishing cannot attest to the accuracy of this information. Use of a term in this book should not be regarded as affecting the Publishing validity of any trademark or service mark.
    [Show full text]
  • 14-35Mm Whitepaper.Qxd
    ZUIKO DIGITAL ED 14-35mm 1:2.0 SWD lens: World’s first standard zoom with a fixed 1:2.0 aperture The challenge: Excellent image quality, a fast autofocus and compact durability are high on every professional photographer’s list of what a lens should possess. But more often than not, high lens brightness tops such a wish list. With light being among the most essential elements for creating photographic compositions, that’s not very surprising. The majority of zoom lenses, however, lose part of their light-gathering power as the zoom factor increases. This is overcome with fixed focal length lenses – but at the expense of zooming flexibility. The engineering challenge therefore is to produce a lens that combines the versatility of a zoom with a bright aperture that remains consistent over the entire focal length range while retaining compact dimensions. The lens: The ZUIKO DIGITAL ED 14-35mm 1:2.0 SWD bestows photographers an extremely bright 2.0 aperture throughout its entire zoom range (equiva- lent to 28-70mm in 35mm cameras). Furthermore, thanks to adherence to the Four Thirds Standard, the lens can boast a size and weight advantage over counterparts using other sensor types – while still E-3 with ZUIKO DIGITAL ED 14-35mm providing enough headroom required for its bright, fixed aperture. 1:2.0 SWD lens The lens features an inner focusing mechanism, meaning its length does not change when zooming, nor does the lens’s end rotate when focusing. Instead, the intermediate lens groups change positions when focusing. As these groups are smaller compared to the front lens group, higher focusing speeds can be achieved.
    [Show full text]