CS6640 Computational Photography 9. Practical Photographic Optics
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Still Photography
Still Photography Soumik Mitra, Published by - Jharkhand Rai University Subject: STILL PHOTOGRAPHY Credits: 4 SYLLABUS Introduction to Photography Beginning of Photography; People who shaped up Photography. Camera; Lenses & Accessories - I What a Camera; Types of Camera; TLR; APS & Digital Cameras; Single-Lens Reflex Cameras. Camera; Lenses & Accessories - II Photographic Lenses; Using Different Lenses; Filters. Exposure & Light Understanding Exposure; Exposure in Practical Use. Photogram Introduction; Making Photogram. Darkroom Practice Introduction to Basic Printing; Photographic Papers; Chemicals for Printing. Suggested Readings: 1. Still Photography: the Problematic Model, Lew Thomas, Peter D'Agostino, NFS Press. 2. Images of Information: Still Photography in the Social Sciences, Jon Wagner, 3. Photographic Tools for Teachers: Still Photography, Roy A. Frye. Introduction to Photography STILL PHOTOGRAPHY Course Descriptions The department of Photography at the IFT offers a provocative and experimental curriculum in the setting of a large, diversified university. As one of the pioneers programs of graduate and undergraduate study in photography in the India , we aim at providing the best to our students to help them relate practical studies in art & craft in professional context. The Photography program combines the teaching of craft, history, and contemporary ideas with the critical examination of conventional forms of art making. The curriculum at IFT is designed to give students the technical training and aesthetic awareness to develop a strong individual expression as an artist. The faculty represents a broad range of interests and aesthetics, with course offerings often reflecting their individual passions and concerns. In this fundamental course, students will identify basic photographic tools and their intended purposes, including the proper use of various camera systems, light meters and film selection. -
Alternative Processes a Few Essentials Introduction
Alternative Processes A Few Essentials Introduction Chapter 1. Capture Techniques From Alternative Photographic Processes: Crafting Handmade Images Chapter 2. Digital Negatives for Gum From Gum Printing: A Step-by-Step Manual, Highlighting Artists and Their Creative Practice Chapter 3. Fugitive and Not-So-Fugitive Printing From Jill Enfield?s Guide to Photographic Alternative Processes: Popular Historical and Contemporary Techniques 2 Featured Books on Alternative Process Photography from Routledge | Focal Press Use discount code FLR40 to take 20% off all Routledge titles. Simply visit www.routledge.com/photography to browse and purchase books of interest. 3 Introduction A young art though it may be, photography already has a rich history. As media moves full steam ahead into the digital revolution and beyond, it is a natural instinct to look back at where we?ve come from. With more artists rediscovering photography?s historical processes, the practice of photography continually redefines and re-contextualizes itself. The creative possibilities of these historical processes are endless, spawning a growing arena of practice - alternative processes, which combines past, present and everything in between, in the creation of art. This collection is an introduction to and a sample of these processes and possibilities. With Alternative Photographic Processes, Brady Wilks demonstrates techniques for manipulating photographs, negatives and prints ? emphasizing the ?hand-made? touch. Bridging the gap between the simplest of processes to the most complex, Wilks? introduction demonstrates image-manipulation pre-capture, allowing the artist to get intimate with his or her images long before development. In the newly-released Gum Printing, leading gum expert Christina Z. -
A N E W E R a I N O P T I
A NEW ERA IN OPTICS EXPERIENCE AN UNPRECEDENTED LEVEL OF PERFORMANCE NIKKOR Z Lens Category Map New-dimensional S-Line Other lenses optical performance realized NIKKOR Z NIKKOR Z NIKKOR Z Lenses other than the with the Z mount 14-30mm f/4 S 24-70mm f/2.8 S 24-70mm f/4 S S-Line series will be announced at a later date. NIKKOR Z 58mm f/0.95 S Noct The title of the S-Line is reserved only for NIKKOR Z lenses that have cleared newly NIKKOR Z NIKKOR Z established standards in design principles and quality control that are even stricter 35mm f/1.8 S 50mm f/1.8 S than Nikon’s conventional standards. The “S” can be read as representing words such as “Superior”, “Special” and “Sophisticated.” Top of the S-Line model: the culmination Versatile lenses offering a new dimension Well-balanced, of the NIKKOR quest for groundbreaking in optical performance high-performance lenses Whichever model you choose, every S-Line lens achieves richly detailed image expression optical performance These lenses bring a higher level of These lenses strike an optimum delivering a sense of reality in both still shooting and movie creation. It offers a new This lens has the ability to depict subjects imaging power, achieving superior balance between advanced in ways that have never been seen reproduction with high resolution even at functionality, compactness dimension in optical performance, including overwhelming resolution, bringing fresh before, including by rendering them with the periphery of the image, and utilizing and cost effectiveness, while an extremely shallow depth of field. -
Irix 45Mm F1.4
Explore the magic of medium format photography with the Irix 45mm f/1.4 lens equipped with the native mount for Fujifilm GFX cameras! The Irix Lens brand introduces a standard 45mm wide-angle lens with a dedicated mount that can be used with Fujifilm GFX series cameras equipped with medium format sensors. Digital medium format is a nod to traditional analog photography and a return to the roots that defined the vividness and quality of the image captured in photos. Today, the Irix brand offers creators, who seek iconic image quality combined with mystical vividness, a tool that will allow them to realize their wildest creative visions - the Irix 45mm f / 1.4 G-mount lens. It is an innovative product because as a precursor, it paves the way for standard wide-angle lenses with low aperture, which are able to cope with medium format sensors. The maximum aperture value of f/1.4 and the sensor size of Fujifilm GFX series cameras ensure not only a shallow depth of field, but also smooth transitions between individual focus areas and a high dynamic range. The wide f/1.4 aperture enables you to capture a clear background separation and work in low light conditions, and thanks to the excellent optical performance, which consists of high sharpness, negligible amount of chromatic aberration and great microcontrast - this lens can successfully become the most commonly used accessory that will help you create picturesque shots. The Irix 45mm f / 1.4 GFX is a professional lens designed for FujiFilm GFX cameras. It has a high-quality construction, based on the knowledge of Irix Lens engineers gained during the design and production of full-frame lenses. -
Basic View Camera
PROFICIENCY REQUIRED Operating Guide for MEDIA LOAN CALUMET 4X5 VIEW CAMERA Media Loan Operating Guides are available online at www.evergreen.edu/medialoan/ View cameras are usually tripod mounted and lend When checking out a 4x5 camera from Media Loan, themselves to a more contemplative style than the more patrons will need to obtain a tripod, a light meter, one portable 35mm and 2 1/4 formats. The Calumet 4x5 or both types of film holders, and a changing bag for Standard model view camera is a lightweight, portable sheet film loading. Each sheet holder can be loaded tool that produces superior, fine grained images because with two sheets of film, a process that must be done in of its large format and ability to adjust for a minimum of total darkness. The Polaroid holders can only be loaded image distortion. with one sheet of film at a time, but each sheet is light Media Loan's 4x5 cameras come equipped with a 150mm protected. lens which is a slightly wider angle than normal. It allows for a 44 degree angle of view, while the normal 165mm lens allows for a 40 degree angle of view. Although the controls on each of Media Loan's 4x5 lens may vary in terms of placement and style, the functions remain the same. Some of the lenses have an additional setting for strobe flash or flashbulb use. On these lenses, use the X setting for use with a strobe flash (It’s crucial for the setting to remain on X while using the studio) and the M setting for use with a flashbulb (Media Loan does not support flashbulbs). -
Lens Openings and Shutter Speeds
Illustrations courtesy Life Magazine Encyclopedia of Photography Lens Openings & Shutter Speeds Controlling Exposure & the Rendering of Space and Time Equal Lens Openings/ Double Exposure Time Here is an analogy to photographic exposure. The timer in this illustration represents the shutter speed portion of the exposure. The faucet represents the lens openings. The beaker represents the complete "filling" of the sensor chip or the film, or full exposure. You can see that with equal "openings" of the "lens" (the faucet) the beaker on the left is half full (underexposed) in 2 seconds, and completely full in 4 seconds... Also note that the capacity of the beaker is analogous to the ISO or light sensitivity setting on the camera. A large beaker represents a "slow" or less light sensitive setting, like ISO 100. A small beaker is analogous to a "fast" or more light sensitive setting, like ISO 1200. Doubling or halving the ISO number doubles or halves the sensitivity, effectively the same scheme as for f/stops and shutter speeds. 200 ISO film is "one stop faster" than ISO 100. Equal Time One f/stop down In the second illustration, the example on the left, the faucet (lens opening, f-stop, or "aperture"- all the same meaning here) is opened twice as much as the example on the right- or one "stop." It passes twice as much light as the one on the right, in the same period of time. Thus by opening the faucet one "stop," the beaker will be filled in 2 seconds. In the right example, with the faucet "stopped down" the film is underexposed by half- or one "stop." On the left, the "lens" is "opened by one stop." Equivalent Exposure: Lens Open 1 f/stop more & 1/2 the Time In this illustration, we have achieved "equivalent exposure" by, on the left, "opening the lens" by one "stop" exposing the sensor chip fully in 2 seconds. -
How Post-Processing Effects Imitating Camera Artifacts Affect the Perceived Realism and Aesthetics of Digital Game Graphics
How post-processing effects imitating camera artifacts affect the perceived realism and aesthetics of digital game graphics Av: Charlie Raud Handledare: Kai-Mikael Jää-Aro Södertörns högskola | Institutionen för naturvetenskap, miljö och teknik Kandidatuppsats 30 hp Medieteknik | HT2017/VT2018 Spelprogrammet Hur post-processing effekter som imiterar kamera-artefakter påverkar den uppfattade realismen och estetiken hos digital spelgrafik 2 Abstract This study investigates how post-processing effects affect the realism and aesthetics of digital game graphics. Four focus groups explored a digital game environment and were exposed to various post-processing effects. During qualitative interviews these focus groups were asked questions about their experience and preferences and the results were analysed. The results can illustrate some of the different pros and cons with these popular post-processing effects and this could help graphical artists and game developers in the future to use this tool (post-processing effects) as effectively as possible. Keywords: post-processing effects, 3D graphics, image enhancement, qualitative study, focus groups, realism, aesthetics Abstrakt Denna studie undersöker hur post-processing effekter påverkar realismen och estetiken hos digital spelgrafik. Fyra fokusgrupper utforskade en digital spelmiljö medan olika post-processing effekter exponerades för dem. Under kvalitativa fokusgruppsintervjuer fick de frågor angående deras upplevelser och preferenser och detta resultat blev sedan analyserat. Resultatet kan ge en bild av de olika för- och nackdelarna som finns med dessa populära post-processing effekter och skulle möjligen kunna hjälpa grafiker och spelutvecklare i framtiden att använda detta verktyg (post-processing effekter) så effektivt som möjligt. Keywords: post-processing effekter, 3D-grafik, bildförbättring, kvalitativ studie, fokusgrupper, realism, estetik 3 Table of content Abstract ..................................................................................................... -
Lens Flare Prediction Based on Measurements with Real-Time Visualization
Authors manuscript. Published in The Visual Computer, first online: 14 May 2018 The final publication is available at Springer via https://doi.org/10.1007/s00371-018-1552-4. Lens flare prediction based on measurements with real-time visualization Andreas Walch1 · Christian Luksch1 · Attila Szabo1 · Harald Steinlechner1 · Georg Haaser1 · Michael Schw¨arzler1 · Stefan Maierhofer1 Abstract Lens flare is a visual phenomenon caused by lens system or due to scattering caused by lens mate- interreflection of light within a lens system. This effect rial imperfections. The intensity of lens flare heavily de- is often seen as an undesired artifact, but it also gives pends on the camera to light source constellation and rendered images a realistic appearance and is even used of the light source intensity, compared to the rest of for artistic purposes. In the area of computer graph- the scene [7]. Lens flares are often regarded as a dis- ics, several simulation based approaches have been pre- turbing artifact, and camera producers develop coun- sented to render lens flare for a given spherical lens sys- termeasures, such as anti-reflection coatings and opti- tem. For physically reliable results, these approaches mized lens hoods to reduce their visual impact. In other require an accurate description of that system, which applications though, movies [16,23] or video games [21], differs from camera to camera. Also, for the lens flares lens flares are used intentionally to imply a higher de- appearance, crucial parameters { especially the anti- gree of realism or as a stylistic element. Figure 1 shows reflection coatings { can often only be approximated. -
Sources of Error in HDRI for Luminance Measurement: a Review of the Literature
Sources of Error in HDRI for Luminance Measurement: A Review of the Literature Sarah Safranek and Robert G. Davis Pacific Northwest National Laboratory 620 SW 5th Avenue, Suite 810 Portland, OR 97204 [email protected] (corresponding author) [email protected] This is an archival copy of an article published in LEUKOS. Please cite as: Sarah Safranek & Robert G. Davis (2020): Sources of Error in HDRI for Luminance Measurement: A Review of the Literature, LEUKOS, DOI: 10.1080/15502724.2020.1721018 Abstract Compared to the use of conventional spot luminance meters, high dynamic range imaging (HDRI) offers significant advantages for luminance measurements in lighting research. Consequently, the reporting of absolute luminance data based on HDRI measurements has rapidly increased in technical lighting literature, with researchers using HDRI to address topics such as daylight distribution and discomfort glare. However, questions remain about the accuracy of luminance data derived from HDRI. This article reviewed published papers that reported potential sources of error in deriving absolute luminance values from high dynamic range imaging (HDRI) using a consumer grade digital camera, along with application papers that included an analysis of errors in HDRI-derived luminance values. Four sources of significant error emerged from the literature review: lens vignetting, lens flare, luminous overflow, and sensor spectral responsivity. The cause and magnitude for each source of error is discussed using the relevant findings from previous research and any available correction methods are presented. Based on the review, a set of recommendations was developed for minimizing the possible errors in HDRI luminance measurements as well as recommendations for future research using HDRI. -
Schneider-Kreuznach Erweitert Seine F-Mount-Objektiv-Familie
FAQ Century Film & Video 1. What is Angle of View? 2. What is an Achromat Diopter? 3. How is an Achromat different from a standard close up lens? 4. What is a matte box? 5. What is a lens shade? 6. When do you need a lens shade or a matte box? 7. What is aspect ratio? 8. What is 4:3? 9. What is 16:9? 10. What is anamorphic video? 11. What is the difference between the Mark I and Mark II fisheye lenses? 12. What is anti-reflection coating? 13. How should I clean my lens? 14. Why should I use a bayonet Mount? 15. How much does my accessory lens weigh? 16. What is hyperfocal distance? 17. What is the Hyperfocal distance of my lens? 18. What is a T-Stop? 19. What is a PL mount? 1. What is Angle of View? Angle of view is a measure of how much of the scene a lens can view. A fisheye lens can see as much as 180 degrees and a telephoto lens might see as narrow an angle as 5 degrees. It is important to distinguish horizontal angle of view from the vertical angle of view. 2. What is an Achromat Diopter? An achromat diopter is a highly corrected two element close up lens that provides extremely sharp images edge to edge without prismatic color effects. 3. How is an Achromat different from a standard close up lens? Standard close-up lenses, or diopters, are single element lenses that allow the camera lens to focus more closely on small objects. -
Big Bertha/Baby Bertha
Big Bertha /Baby Bertha by Daniel W. Fromm Contents 1 Big Bertha As She Was Spoke 1 2 Dreaming of a Baby Bertha 5 3 Baby Bertha conceived 8 4 Baby Bertha’s gestation 8 5 Baby cuts her teeth - solve one problem, find another – and final catastrophe 17 6 Building Baby Bertha around a 2x3 Cambo SC reconsidered 23 7 Mistakes/good decisions 23 8 What was rescued from the wreckage: 24 1 Big Bertha As She Was Spoke American sports photographers used to shoot sporting events, e.g., baseball games, with specially made fixed lens Single Lens Reflex (SLR) cameras. These were made by fitting a Graflex SLR with a long lens - 20" to 60" - and a suitable focusing mechanism. They shot 4x5 or 5x7, were quite heavy. One such camera made by Graflex is figured in the first edition of Graphic Graflex Photography. Another, used by the Fort Worth, Texas, Star-Telegram, can be seen at http://www.lurvely.com/photo/6176270759/FWST_Big_Bertha_Graflex/ and http://www.flickr.com/photos/21211119@N03/6176270759 Long lens SLRs that incorporate a Graflex are often called "Big Berthas" but the name isn’t applied consistently. For example, there’s a 4x5 Bertha in the George Eastman House collection (http://geh.org/fm/mees/htmlsrc/mG736700011_ful.html) identified as a "Little Bertha." "Big Bertha" has also been applied to regular production Graflexes, e.g., a 5x7 Press Graflex (http://www.mcmahanphoto.com/lc380.html ) and a 4x5 Graflex that I can’t identify (http://www.avlispub.com/garage/apollo_1_launch.htm). These cameras lack the usual Bertha attributes of long lens, usually but not always a telephoto, and rapid focusing. -
Aberration Invariant Optical/Digital Incoherent Optical Systems
Imaging Systems Laboratory, Department of Electrical Engineering University of Colorado, Boulder, Colorado 80309 Aberration Invariant Optical/Digital Incoherent Optical Systems Edward R. Dowski, Jr., W. Thomas Cathey, and Joseph van der Gracht Abstract Control of optical aberrations is a principal objective of any optical design. High performance optical designs with well-corrected aberrations typically have a very low tolerance to fabrication and alignment errors and are composed of very specific optical materials. Such systems are almost always more costly than equivalent systems with less well-corrected aberrations. By optimum combination of optical pre-processing and digital post-processing, or optical coding and digital decoding of the image information, incoherent optical systems invariant to numerous aberrations can be formed. The theory of aberration invariance can also be used with low-cost, low-precision optics to produce systems that image with the performance of high-cost, high-precision, or near diffraction-limited, spatial resolution. We can show that the central aberration to be controlled is second order, or misfocus. Systems that are invariant to misfocus are also invariant to chromatic aberration, astigmatism, thermal effects, and spherical aberration. This paper therefore describes, with experimental evidence, a focus-invariant optical system. Research The most common approach to approximating a focus-invariant imaging system is to stop down the pupil aperture. Although stopping down the aperture does increase the amount of focus invariance, or depth of field, there is an attendant loss in optical power at the image plane, as well as a reduction of the diffraction-limited image resolution. The aperture can be viewed as a simple absorptive mask in the pupil plane of an optical imaging system; however, this absorptive nature results in a loss of light.