PENTAX K-1 Mark II Body Kit
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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 -
This E-Book Is Intended to Be Read on a Computer Screen
This e-book is intended to be read on a computer screen. You can print the e-book for your own use. However, it will have a copyright watermark notice at the bottom of each page. Table of contents and Foreword I am pleased that you purchased one of our “Pentax K-7 – Everything you need to know…..and then some” book. As an enthusiastic photographer for many years, I have had many Pentax cameras. My first “new” camera was a Pentax Spotmatic, purchased when I was still in Junior High. When Pentax stepped into the Digital SLR market, I was delighted. Their first few DSLRs (The *ist series) were the smallest DSLRs on the market but were not particularly special with the 6MP CCD. When the K10D was introduced, everything changed and Pentax was suddenly a major player. The K10D was a breakthrough, in my opinion. It had the capabili- ties of Professional DSLRs with the price of entry-level DSLRs. It had some unique features found nowhere else at any price. In January of 2008, Pentax an- nounced the K20D. It was not a revolution as the K10D was, but it certainly was an evolution of the revolution. The K200D and the K2000/KM followed with no exceptional or marginal improvements. On May 20, 2009, Pentax made history again by introducing the Pentax K-7. This time, it is definitely another revolu- tion, and maybe bigger than the K10D was when introduced. Once again, Pentax engineers have pushed the envelope and designed a DSLR with more features than any camera in it’s price range. -
Setup of a Commercial Digital SLR, Large Area, Triggerable CCD Camera for Optical Laser-Plasma Diagnostics
7LASER SCIENCE AND DEVELOPMENT | LASER R&D AND INSTRUMENTATION Setup of a commercial digital SLR, large area, triggerable CCD camera for optical laser-plasma diagnostics L. Labate, A. Barbini and L. A. Gizzi L. M. R. Gartside and D. Neely Intense Laser Irradiation Laboratory - IPCF, Consiglio Central Laser Facility, STFC, Rutherford Appleton Nazionale delle Ricerche, Pisa, Italy Laboratory, HSIC, Didcot, Oxon OX11 0QX, UK Contact | [email protected] Figure 1. Left: four channels triggering PCB. Right: two Pentax cameras mounted in an experiment. Introduction Camera description and triggering system CCD (or CMOS) detectors are currently widely used in a Two different models by Pentax (a division of Hoya Co.) broad range of experimental configurations as the main have been tested and successfully employed in some tool for the detection of optical emission. In the field of experiments, namely the Pentax K10D and the K100 laser-produced plasma physics, they are employed both for super camera. Both cameras are equipped with a standard the plasma emission as well as for the diagnosis of laser size (23.5×15.7 mm) CCD chip (with primary colours beams. Today, all the major suppliers of laboratory filters) and a 24bit (8bits/colour) ADC. The only instrumentation are able to provide compact CCD differences are in the pixel number and size (3872×2592, detectors with external triggering capability and USB or 6×6 µm2 size pixels in the K10D case and 3008×2008, IEEE1394 (FireWire) interface at affordable costs. 7.8 µm2 size in the K100 super case). Both cameras However, in spite of the ever reducing costs of the CCD provide an USB interface and they can be connected to an chips, prices still exceed 1ke for 8bit ADC cameras and external monitor for optical alignment purposes. -
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. -
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. -
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...................................................... -
Express Camera Auction 27Th June 2018 at 10:00
Hugo Marsh Neil Thomas Plant (Director) Shuttleworth (Director) (Director) Express Camera Auction 27th June 2018 at 10:00 Viewing 26th June 2018 10:00-16:00 For enquiries relating to the sale: Saleroom One Please contact: 81 Greenham Business Park NEWBURY RG19 6HW Telephone: 01635 580595 Fax: 0871 714 6905 Email: [email protected] www.specialauctionservices.com Austin Mike Spencer Farahar Express Cameras Cameras Bid Here Without Being Here All you need is your computer and an internet connection and you can make real-time bids in real-world auctions at the-saleroom.com. You don’t have to be a computer whizz. All you have to do is visit www.the-saleroom.com and register to bid - its just like being in the auction room. A live audio feed means you hear the auctioneer at the same time as other bidders. You see the lots on your computer screen as they appear in the auction room and the auctioneer is aware of your bids the moment you make them. Just register and click to bid! 7. Kodak Retina Cameras, 13. 35mm Film Strip Projectors, models include, Retina Ib with 50mm Ellis & Newton Ltd with Leech series f/2.8 Schneider-Kreuznach lens (G), II 3’’ lens, Pullin Optics with Pulnar 4’’ Retina IIa (2) and a Retinette Ib (100mm) f/2.8 lens, both in wooden £40-60 carry cases £30-50 14. A Kodascope Model C 1. Four TLR Cameras, models Projector, including lens, reels, in include, Rolleicord II with triostar makers case £20-40 7.5cm f/3.5 lens, a Mamiyaflex with Sekor 7.5cm f3.5 lens, a Ricoh super 44 with Riken 6cm f/3.5 lens and a Semiflex with a Berthot 75mm f/4.5 lens £50-70 8. -
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. -
Robert Berdan © Science & Art Multimedia
This workshop will take you to the next level with Photoshop CS4 and show you how to use curves, adjustment layers, masks, channels, create actions, convert images so they simulate infrared, hand colour BW photos, combine images to expand dynamic range, create impressionistic images and more. This workshop is designed as a follow up to Photoshop I workshop. Robert Berdan Science & Art Multimedia E-mail [email protected] (403) 247-2457 Last Updated January 28, 2010 Suitable for intermediate to advanced level photographers and Photoshop users. The workshop includes a DVD with tutorial images and step by step video clips for self learning. 1. Introduction 1.1 Introduction..................................................................................................... 3 2. Photoshop Lessons 2.1 Introduction to Curves...................................................................................... 4 2.2 Cross Processing using Curves......................................................................... 8 2.3 Adjustment Layers ........................................................................................... 10 2.4 Automated Adjustment Layers ......................................................................... 14 2.5 Adjustment Layer Masks .................................................................................. 16 2.6 Add a layer mask to reveal selected regions of a photograph.......................... 19 2.7 Create a Photomontage.................................................................................. -
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. -
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 -
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