What Is a DSLR (Digital SLR)? DSLR Stands for “Digital Single Lens Reflex”
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“Digital Single Lens Reflex”
PHOTOGRAPHY GENERIC ELECTIVE SEM-II DSLR stands for “Digital Single Lens Reflex”. In simple language, a DSLR is a digital camera that uses a mirror mechanism to either reflect light from a camera lens to an optical viewfinder (which is an eyepiece on the back of the camera that one looks through to see what they are taking a picture of) or let light fully pass onto the image sensor (which captures the image) by moving the mirror out of the way. Although single lens reflex cameras have been available in various shapes and forms since the 19th century with film as the recording medium, the first commercial digital SLR with an image sensor appeared in 1991. Compared to point-and-shoot and phone cameras, DSLR cameras typically use interchangeable lenses. Take a look at the following image of an SLR cross section (image courtesy of Wikipedia): When you look through a DSLR viewfinder / eyepiece on the back of the camera, whatever you see is passed through the lens attached to the camera, which means that you could be looking at exactly what you are going to capture. Light from the scene you are attempting to capture passes through the lens into a reflex mirror (#2) that sits at a 45 degree angle inside the camera chamber, which then forwards the light vertically to an optical element called a “pentaprism” (#7). The pentaprism then converts the vertical light to horizontal by redirecting the light through two separate mirrors, right into the viewfinder (#8). When you take a picture, the reflex mirror (#2) swings upwards, blocking the vertical pathway and letting the light directly through. -
Completing a Photography Exhibit Data Tag
Completing a Photography Exhibit Data Tag Current Data Tags are available at: https://unl.box.com/s/1ttnemphrd4szykl5t9xm1ofiezi86js Camera Make & Model: Indicate the brand and model of the camera, such as Google Pixel 2, Nikon Coolpix B500, or Canon EOS Rebel T7. Focus Type: • Fixed Focus means the photographer is not able to adjust the focal point. These cameras tend to have a large depth of field. This might include basic disposable cameras. • Auto Focus means the camera automatically adjusts the optics in the lens to bring the subject into focus. The camera typically selects what to focus on. However, the photographer may also be able to select the focal point using a touch screen for example, but the camera will automatically adjust the lens. This might include digital cameras and mobile device cameras, such as phones and tablets. • Manual Focus allows the photographer to manually adjust and control the lens’ focus by hand, usually by turning the focus ring. Camera Type: Indicate whether the camera is digital or film. (The following Questions are for Unit 2 and 3 exhibitors only.) Did you manually adjust the aperture, shutter speed, or ISO? Indicate whether you adjusted these settings to capture the photo. Note: Regardless of whether or not you adjusted these settings manually, you must still identify the images specific F Stop, Shutter Sped, ISO, and Focal Length settings. “Auto” is not an acceptable answer. Digital cameras automatically record this information for each photo captured. This information, referred to as Metadata, is attached to the image file and goes with it when the image is downloaded to a computer for example. -
Session Outline: History of the Daguerreotype
Fundamentals of the Conservation of Photographs SESSION: History of the Daguerreotype INSTRUCTOR: Grant B. Romer SESSION OUTLINE ABSTRACT The daguerreotype process evolved out of the collaboration of Louis Jacques Mande Daguerre (1787- 1851) and Nicephore Niepce, which began in 1827. During their experiments to invent a commercially viable system of photography a number of photographic processes were evolved which contributed elements that led to the daguerreotype. Following Niepce’s death in 1833, Daguerre continued experimentation and discovered in 1835 the basic principle of the process. Later, investigation of the process by prominent scientists led to important understandings and improvements. By 1843 the process had reached technical perfection and remained the commercially dominant system of photography in the world until the mid-1850’s. The image quality of the fine daguerreotype set the photographic standard and the photographic industry was established around it. The standardized daguerreotype process after 1843 entailed seven essential steps: plate polishing, sensitization, camera exposure, development, fixation, gilding, and drying. The daguerreotype process is explored more fully in the Technical Note: Daguerreotype. The daguerreotype image is seen as a positive to full effect through a combination of the reflection the plate surface and the scattering of light by the imaging particles. Housings exist in great variety of style, usually following the fashion of miniature portrait presentation. The daguerreotype plate is extremely vulnerable to mechanical damage and the deteriorating influences of atmospheric pollutants. Hence, highly colored and obscuring corrosion films are commonly found on daguerreotypes. Many daguerreotypes have been damaged or destroyed by uninformed attempts to wipe these films away. -
Sample Manuscript Showing Specifications and Style
Information capacity: a measure of potential image quality of a digital camera Frédéric Cao 1, Frédéric Guichard, Hervé Hornung DxO Labs, 3 rue Nationale, 92100 Boulogne Billancourt, FRANCE ABSTRACT The aim of the paper is to define an objective measurement for evaluating the performance of a digital camera. The challenge is to mix different flaws involving geometry (as distortion or lateral chromatic aberrations), light (as luminance and color shading), or statistical phenomena (as noise). We introduce the concept of information capacity that accounts for all the main defects than can be observed in digital images, and that can be due either to the optics or to the sensor. The information capacity describes the potential of the camera to produce good images. In particular, digital processing can correct some flaws (like distortion). Our definition of information takes possible correction into account and the fact that processing can neither retrieve lost information nor create some. This paper extends some of our previous work where the information capacity was only defined for RAW sensors. The concept is extended for cameras with optical defects as distortion, lateral and longitudinal chromatic aberration or lens shading. Keywords: digital photography, image quality evaluation, optical aberration, information capacity, camera performance database 1. INTRODUCTION The evaluation of a digital camera is a key factor for customers, whether they are vendors or final customers. It relies on many different factors as the presence or not of some functionalities, ergonomic, price, or image quality. Each separate criterion is itself quite complex to evaluate, and depends on many different factors. The case of image quality is a good illustration of this topic. -
Openimageio 1.7 Programmer Documentation (In Progress)
OpenImageIO 1.7 Programmer Documentation (in progress) Editor: Larry Gritz [email protected] Date: 31 Mar 2016 ii The OpenImageIO source code and documentation are: Copyright (c) 2008-2016 Larry Gritz, et al. All Rights Reserved. The code that implements OpenImageIO is licensed under the BSD 3-clause (also some- times known as “new BSD” or “modified BSD”) license: Redistribution and use in source and binary forms, with or without modification, are per- mitted provided that the following conditions are met: • Redistributions of source code must retain the above copyright notice, this list of condi- tions and the following disclaimer. • Redistributions in binary form must reproduce the above copyright notice, this list of con- ditions and the following disclaimer in the documentation and/or other materials provided with the distribution. • Neither the name of the software’s owners nor the names of its contributors may be used to endorse or promote products derived from this software without specific prior written permission. THIS SOFTWARE IS PROVIDED BY THE COPYRIGHT HOLDERS AND CONTRIB- UTORS ”AS IS” AND ANY EXPRESS OR IMPLIED WARRANTIES, INCLUDING, BUT NOT LIMITED TO, THE IMPLIED WARRANTIES OF MERCHANTABILITY AND FIT- NESS FOR A PARTICULAR PURPOSE ARE DISCLAIMED. IN NO EVENT SHALL THE COPYRIGHT OWNER OR CONTRIBUTORS BE LIABLE FOR ANY DIRECT, INDIRECT, INCIDENTAL, SPECIAL, EXEMPLARY, OR CONSEQUENTIAL DAMAGES (INCLUD- ING, BUT NOT LIMITED TO, PROCUREMENT OF SUBSTITUTE GOODS OR SERVICES; LOSS OF USE, DATA, OR PROFITS; OR BUSINESS INTERRUPTION) HOWEVER CAUSED AND ON ANY THEORY OF LIABILITY, WHETHER IN CONTRACT, STRICT LIABIL- ITY, OR TORT (INCLUDING NEGLIGENCE OR OTHERWISE) ARISING IN ANY WAY OUT OF THE USE OF THIS SOFTWARE, EVEN IF ADVISED OF THE POSSIBILITY OF SUCH DAMAGE. -
Ground-Based Photographic Monitoring
United States Department of Agriculture Ground-Based Forest Service Pacific Northwest Research Station Photographic General Technical Report PNW-GTR-503 Monitoring May 2001 Frederick C. Hall Author Frederick C. Hall is senior plant ecologist, U.S. Department of Agriculture, Forest Service, Pacific Northwest Region, Natural Resources, P.O. Box 3623, Portland, Oregon 97208-3623. Paper prepared in cooperation with the Pacific Northwest Region. Abstract Hall, Frederick C. 2001 Ground-based photographic monitoring. Gen. Tech. Rep. PNW-GTR-503. Portland, OR: U.S. Department of Agriculture, Forest Service, Pacific Northwest Research Station. 340 p. Land management professionals (foresters, wildlife biologists, range managers, and land managers such as ranchers and forest land owners) often have need to evaluate their management activities. Photographic monitoring is a fast, simple, and effective way to determine if changes made to an area have been successful. Ground-based photo monitoring means using photographs taken at a specific site to monitor conditions or change. It may be divided into two systems: (1) comparison photos, whereby a photograph is used to compare a known condition with field conditions to estimate some parameter of the field condition; and (2) repeat photo- graphs, whereby several pictures are taken of the same tract of ground over time to detect change. Comparison systems deal with fuel loading, herbage utilization, and public reaction to scenery. Repeat photography is discussed in relation to land- scape, remote, and site-specific systems. Critical attributes of repeat photography are (1) maps to find the sampling location and of the photo monitoring layout; (2) documentation of the monitoring system to include purpose, camera and film, w e a t h e r, season, sampling technique, and equipment; and (3) precise replication of photographs. -
N5005 AF.Pdf
Nikon INSTRUCTION MANUAL CONTENTS FOREWORD . ...... ... .... ....... ......... 4 EXPOSURE . .. .... ........ ..... ...... 28--36 NOMENCLATURE .......................... .. 5-7 SHUTIER SPEED DIAL AND APERTURE DIAL .... .... 28 PROGRAMMED AUTO EXPOSURE MODE - BASIC OPERATION .. .... ........ 8-20 AUTO MULTI-PROGRAM . ... ... ... .... ...... 29 MOUNTING THE LENS ......... ....... ...... .... 8 SHUTIER-PRIORITY AUTO EXPOSURE MODE ..... 30-31 INSTALLING BATIERIES ...... ......... ........... 9 APERTURE-PRIORITY EXPOSURE MODE ......... 32-33 CHECKING BATIERY POWER . .. 10-11 MANUAL EXPOSURE MODE ......... .. .... 34-36 LOADING FILM .... .... ... ... .... .. ... .. 12-13 T setting . ........ ......... ..... .. ... 36 BASIC SHOOTING ...... ... ............. ...... 14-17 REWINDING FILM ............ .. ... ...... 18-19 EXPOSURE METERING SYSTEM ...... .... 37-43 MATRIX METERING .... ... ...... ... .. .. .... 37 FOCUS ......... .. ... .. ......... .. ... 20-27 CENTER-WEIGHTED METERING ... .. ..... .. ..... .. 37 AUTO FOCUS .. ........ .. ............. .. ..... 20-23 MATRIX METERING VS. With a stationary subject .... .... ... ..... 20 CENTER-WEIGHTED METERING .....•....• . 38-41 With a moving subject . .. 21 CENTER-WEIGHTED METERING FOR Taking pictures with an off-center main subject ... 22 SPECIAL EXPOSURE SITUATIONS .. ... ... ... 42-43 Autofocusing with AF illuminator .... ... 23 AEL (Auto Exposure Lock) button . .. 42 MANUAL FOCUS WITH ELECTRONIC FOCUSING Manual exposure mode . 43 CONFIRMATION . .... ...... .. ... ..... .. 24 MANUAL FOCUS USING -
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 -
Nikon Setting Guide
Professional Setting Guide — For Still Photography — En Table of Contents Landscapes 5 Basic Settings for Landscape Photography ................... 6 • Focus Mode: Choose “Single AF” (AF ‑S) and “Single-Point AF”! ........................................................................7 • Vibration Reduction: Choose “Normal” for Hand‑Held Photography! ..............................................................7 • Silent Photography: Choose “On”! ..............................................9 • Low‑Light AF: Choose “On”! .......................................................10 • Exposure Delay Mode: Choose “1 s”! ........................................10 • Monitor Mode: Choose “Monitor Only”!...............................11 Custom Controls for Landscape Photography ............ 12 • q Preview ......................................................................................13 • b Framing Grid Display ..............................................................13 • K Select Center Focus Point ...................................................13 • b Live View Info Display Off ..................................................13 • Shooting Mode > p Zoom On/Off ...........................................14 • Playback Mode > p Zoom On/Off ............................................14 Portraits 15 Basic Settings for Portrait Photography ....................... 16 • Set Picture Control: Choose “Portrait”! ..................................16 • Focus Mode: Choose “Continuous AF” (AF ‑C)! ....................16 • AF‑Area Mode: Choose -
Nikon D5500/D5600 Quick Guide Close the Pop-Up Flash And/Or Toggle the Settings to Disable the Flash
Nikon D5500/D5600 Quick Guide close the pop-up flash and/or toggle the settings to disable the flash. Tips for everyone To instantaneously exit all menus, press the shutter button To turn the camera on and off, turn the power switch that halfway down. You can either take a photo by pressing it surrounds the shutter button. further, or not take a photo by letting the button go. The screen is on a double hinge. Pull it out using the To shoot movies, switch to Live View and press the “red groove next to the “i” button. Protect the screen by dot” record button (near the shutter button). flipping it closed when you’re not using it. The zoom buttons next to the delete button are only to The camera’s screen is a touchscreen. You can use the zoom into the preview, or pictures you already took. They physical buttons on the camera if you prefer; most will not zoom the lens for when you are taking pictures. functions work either way. For help, tap the Question mark To change screen brightness, press Menu, tap the Wrench, icon on the bottom left corner of the screen. and tap the Monitor brightness option. ‘0’ is the default Are the screen and viewfinder black? You probably left the (which should be good enough for almost everything) but it lens cap on. Pinch the two parts of the cap together to can go from -5 to +5. release the cap. To put the cap back on, pinch the parts To save space on the memory card without losing too and put it back on the lens, then let go. -
Digital Photography Basics for Beginners
DIGITAL PHOTOGRAPHY BASICS FOR BEGINNERS by Robert Berdan [email protected] www.canadiannaturephotographer.com These notes are free to use by anyone learning or teaching photography. 1. Choosing a camera - there are 2 main types of compact cameras A) Point and Shoot Camera (some have interchangeable lenses most don't) - you view the scene on a liquid crystal display (LCD) screen, some cameras also offer viewfinders. B) Single Lens Reflex (SLR) - cameras with interchangeable lenses let you see the image through the lens that is attached to the camera. What you see is what you get - this feature is particularly valuable when you want to use different types of lenses. Digital SLR Camera with Interchangeable zoom lens 1 Point and shoot cameras are small, light weight and can be carried in a pocket. These cameras tend to be cheaper then SLR cameras. Many of these cameras offer a built in macro mode allowing extreme close-up pictures. Generally the quality of the images on compact cameras is not as good as that from SLR cameras, but they are capable of taking professional quality images. SLR cameras are bigger and usually more expensive. SLRs can be used with a wide variety of interchangeable lenses such as telephoto lenses and macro lenses. SLR cameras offer excellent image quality, lots of features and accessories (some might argue too many features). SLR cameras also shoot a higher frame rates then compact cameras making them better for action photography. Their disadvantages include: higher cost, larger size and weight. They are called Single Lens Reflex, because you see through the lens attached to the camera, the light is reflected by a mirror through a prism and then the viewfinder. -
Evaluation of the Lens Flare
https://doi.org/10.2352/ISSN.2470-1173.2021.9.IQSP-215 © 2021, Society for Imaging Science and Technology Evaluation of the Lens Flare Elodie Souksava, Thomas Corbier, Yiqi Li, Franc¸ois-Xavier Thomas, Laurent Chanas, Fred´ eric´ Guichard DXOMARK, Boulogne-Billancourt, France Abstract Flare, or stray light, is a visual phenomenon generally con- sidered undesirable in photography that leads to a reduction of the image quality. In this article, we present an objective metric for quantifying the amount of flare of the lens of a camera module. This includes hardware and software tools to measure the spread of the stray light in the image. A novel measurement setup has been developed to generate flare images in a reproducible way via a bright light source, close in apparent size and color temperature (a) veiling glare (b) luminous halos to the sun, both within and outside the field of view of the device. The proposed measurement works on RAW images to character- ize and measure the optical phenomenon without being affected by any non-linear processing that the device might implement. Introduction Flare is an optical phenomenon that occurs in response to very bright light sources, often when shooting outdoors. It may appear in various forms in the image, depending on the lens de- (c) haze (d) colored spot and ghosting sign; typically it appears as colored spots, ghosting, luminous ha- Figure 1. Examples of flare artifacts obtained with our flare setup. los, haze, or a veiling glare that reduces the contrast and color saturation in the picture (see Fig. 1).