Photo Point Monitoring Handbook: Part B–Concepts and Analysis
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Digital Photo | Dpmag.Com
dpmag.com ® NIKON D500 Nikon’s New Flagship APS-C DSLR Equipment Checklist UPGRADE The Gear To Replace ISSUE For Maximum Results Upgrade Your Gear, Technique And Vision For Better Photos Camera 2.0: Adjustment Layers A Technology For Nondestructive Wishlist Editing In Photoshop Exceptional Images Deserve an Exceptional Presentation Images by:Sal Cincotta, Max Seigal, Annie Rowland, Hansong Fong, Kitfox Valentin, Nicole Neil Simmons Sepulveda, Valentin, Kitfox Images by:Sal Hansong Fong, Annie Rowland, Cincotta, Max Seigal, Display Your Images in Their Element Choose our Wood Prints to lend a warm, natural feel to your images, MetalPrints infused on aluminum for a vibrant, luminescent look, or Acrylic Prints for a vivid, high-impact display. All options provide exceptional durability and image stability, for a gallery-worthy presentation that will last a lifetime. Available in a wide range of sizes, perfect for anything from small displays to large installations. Learn more at bayphoto.com/wall-displays 25% Get 25% off your fi rst order with Bay Photo Lab! For instructions on how to redeem this special off er, create a free OFF account at bayphoto.com. Your First Order NEW! Easy Web Ordering! o rd om Stunning Prints er.bayphoto.c on Natural Wood, High Defi nition Metal, or Vivid Acrylic Quality. Service. Innovation. We’re here for you! 3 esos WHY PHOTOGRAPHY IS HARDER TODAY, AND MORE 3FUN, THAN IT’S EVER BEEN AT ANY TIME IN HISTORY. HERE ARE A FEW REASONS WHY THAT LITTLE SCREEN NONE OF THIS SOUNDS LIKE FUN. new gear. You can make amazing images with CAN WORK AGAINST YOU WHERE’S THE FUN PART? whatever gear you already have. -
“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. -
The Slide Projector As a Computer-Operated Visual Display*
SESSION III CONTRIBUTED PAPERS: PROCESS CONTROL (INTRODUCTORY) Robert S. Mcl.ean. Ontario Institute for Studies in Education, Presider The slide projector as a computer-operated visual display* PAUL B. BUCKLEY and CLIFFORD B. GILLMAN have had experience with slides and can generate University of Wisconsin, Madison, Wisconsin 53706 appropriate stimuli easily. Furthermore, changing or .supplementing the stimulus set requires no new Advantages and method are presented for using the programming and no additional memory storage. slide projector in a computer-operated visual display Interfacing an inexpensive tachistoscope to the system. computer may also meet the E's requirements for a visual display. However, the projector is more flexible in The presentation of visual stimuli is a common that one can display many stimuli without E procedure in psychological research (Aaronson & intervention. so that intertrial interval is precisely Brauth, 1972). For example, visual stimuli have been controlled. Furthermore, two projectors with employed in our laboratory for experiments in superimposed images, paired in the proper timing perception, learning, memory, choice reaction time, and se q uence, c an perfectly mimic a two-channel very short-term memory. Obviously, this is not an tachistoscope. The shutter on one projector is exhaustive list of potential uses. In the programmed to open as the shutter on the other computer-controlled laboratory, the cathode ray projector closes. Thirdly, whereas a tachistoscope may terminal (CRT) or oscilloscope (CRO) may be used to be used to test one S at a time, a pair of projectors meet this need (Sperling, 1971 ; Van Gelder, 1972; simulating a tachistoscope may present material to Wojnarowski, Bachman, & Pollack, 1971). -
Photographic Equipment Guidelines the Farm Lodge Lake Clark National Park, Alaska
Photographic Equipment Guidelines The Farm Lodge Lake Clark National Park, Alaska by Jim Barr Professional Nature, Adventure Travel, and Outdoor Sports Photographer President, American Society of Media Photographers, Alaska Chapter Photography Guide, The Farm Lodge, Lake Clark National Park Introduction. Here are some general and specific equipment suggestions for photo tour participants. These start and build from “ground zero”, so just blend this information with the equipment that you already have. Equipment is important, but...the old cliché “cameras don’t take pictures, people do” really is true. So don’t put too much emphasis on the equipment. We’ll help you get the most out of what you have. On the other hand, a bear’s face would need to be within two or three feet of the lens for a frame- filling National Geographic quality close-up with a small point-and-shoot or cell phone camera. Not healthy for the photographer (or the bear), and not too likely to happen. The right tools do help. Keep size, weight, and portability in mind. You’ll be traveling to Port Alsworth on a small plane, and deeper into the bush each day on an even smaller one. Space is limited. We’ll also be doing some walking. Bears will require a mile or so of light hiking each way. On landscape days we may hike further and sometimes over rougher terrain, but you can leave heavy wildlife gear at the lodge or in the airplane. We do have options that limit the walking necessary, but there will always be some. -
HASSELBLAD INTRODUCES the H6D-400C MS, a 400 MEGA PIXEL
Press information – for immediate release Gothenburg, Sweden 16 Jan 2018 HASSELBLAD INTRODUCES THE H6D-400c MS, A 400 MEGA PIXEL MULTI-SHOT CAMERA Building on a vast experience of developing exceptional, high-quality single and multi-shot cameras, Hasselblad once again has raised the bar for image quality captured with medium format system. Multi-Shot capture has become an industry standard in the field of art reproduction and cultural heritage for the documentation of paintings, sculptures, and artwork. As the only professional medium format system to feature multi-shot technology, Hasselblad continues to be the leading choice for institutions, organizations, and museums worldwide to record historic treasures in the highest image quality possible. With over 10 years of digital imaging expertise, the latest Multi-Shot digital camera combines the H6D’s unrivalled ease of use with a completely new frontier of image quality and detail. This new camera encompasses all of the technological functions of Hasselblad’s H6D single shot camera, and adds to that the resolution and colour fidelity advancements that only Multi-Shot photography can bring to image capture. With an effective resolution of 400MP via 6 shot image capture, or 100MP resolution in either 4 shot Multi-Shot capture or single shot mode, the Multi-Shot capture requires the sensor and its mount to be moved at a high-precision of 1 or ½ a pixel at a time via a piezo unit. To capture Multi-Shot images the camera must be tethered to a PC or MAC. In 400MP Multi-Shot mode, 6 images are captured, the first 4 involve moving the sensor by one pixel at a time to achieve real colour data (GRGB- see 4 shot diagrams below), this cycle then returns the sensor to its starting point. -
The Fascination of Flash Photography
The fascination of flash photography. 2016 / 2017 The fascination of flash photography “Paint” with the flash. Every subject has its own particular charm. The creative use of flash opens up numerous photographing possibilities, e.g. reducing the subject contrast, highlighting certain picture areas or getting rid of unwanted shadows. The first-class flash units from Metz offer natural colours and harmonious mood lighting – with every subject. Metz – always first class.. www.metz-mecatech.de picture: Geissler Dominik 2 — 3 Contents | A focus on quality 05 Tradition with a focus on the future 24 Every detail absolutely brilliant Contents 06 Your subject in the best 28 accessories possible light 32 Technical glossary 10 A lot of power for the best light 34 Technical specifications System flash units mecablitz mecablitz mecablitz 12 64 AF-1 digital 14 52 AF-1 digital 16 44 AF-2 digital mecablitz mecablitz mecablitz 18 M400 20 26 AF-2 22 36 AF-5 digital System flash units Specialist flash units mecablitz 18 M400 mecablitz mecablitz 23 24 AF-1 digital 26 15 MS-1 digital-Kit picture on title: Florian Gerlach Metz – always first class. www.metz-mecatech.de Metz mecatech – a focus on quality. The name Metz has been synonymous with professional flash units for decades. Our company’s exceptional reputation has been shaped by numerous technical innovations – such as the use of USB connections which allow flash units within the camera system to be updated for the latest camera model even after purchase. Today, we offer a diverse range of products from Whether light output, convenience of use or reliability, the convenient compact flashes right through to powerful handheld first-class quality of Metz flash units is unquestionable – as flash guns. -
A Field Guide to Bulkhead Connectors for Aquatica Digital Camera Housing: a Field Guide to Aquatica’S Strobe Connectors
A field guide to bulkhead connectors for Aquatica digital camera housing: A Field Guide to Aquatica’s strobe connectors This comprehensive guide is to help Aquatica users in selecting the proper strobe connectors for their housing it is divided in sec- tions addressing the various generation and brand for which we have manufactured housing for over the years. Please make sure to visit our website www.aquatica.ca for updated version of this document. Section 1: The classic Nikon type. These are found in the following legacy Aquatica housings for these cameras; Fuji S2 Pro Fuji S5 (same as Nikon D200) Nikon D2x Nikon D3 / D3x (not the D3s version) Nikon D40 / D40x / D60 Nikon D70 /D70s Nikon D80 Nikon D100 Nikon D200 Nikon D300 (not the D300s) Section 2: The newer Nikon type. These modular connectors have an internal switchboard and separate hot shoe and are found in the following new generation Aquatica housings for these cameras; Nikon D3s (not the older D3/D3x version) Nikon D90 Nikon D300s Nikon D700 Section 3: The Classic Canon type. These are found in the following legacy Aquatica housings for these cameras; Canon 1Ds Mk III & 1D Mk IV Canon 5D (not 5D Mk II) Canon 30D Canon 40D / 50D Canon Digital Rebel / 300D Section 4: The newer Canon type. These modular connectors have an internal switchboard and separate hot shoe and are found in the following new generation Aquatica housings for these cameras; Canon 5D Mk II (not the original 5D) Canon 7D Canon Digital Rebel T2i / 550D Section 5: The optical type. -
Master Professional Portrait Lighting with These 20 Essential Studio Setups
LIGHTING GUIDE Master professional portrait lighting with these 20 essential studio setups REMBRANDT WITH A PORTALITE SOFTBOX REMBRANDT THROUGH AN UMBRELLA REMBRANDT WITH A HONEYCOMB GRID REMBRANDT WITH A SILVER UMBRELLA KIT: One D-lite RX4 head, one Clip-lock KIT: One D-lite RX4 head, KIT: One D-lite RX4 head, KIT: One D-lite RX4 head, Stand, one Portalite Softbox one Clip-lock Stand, one 16cm Reflector, one Clip-lock Stand, one 18cm Reflector one Clip-lock Stand, one 16cm Reflector, Position the light high and to the side to one Shoot-through Umbrella with Honeycomb one Silver Umbrella create a triangle on the model’s cheek. The Position the light high and to the side as with Position the light in the same manner as the Position the light in the same manner as the shadow of the nose should point towards the the ‘Rembrandt with a Portalite Softbox’ previous ‘Rembrandt’ techniques; the light previous ‘Rembrandt’ techniques. The light edge of the lips. The Portalite creates a soft setup. The light is slightly less contrasty, through the honeycomb grid is stronger and bouncing from the silver umbrella is more directional effect. because the light is less directional more dramatic. The grid makes it very easy direct and wraps around the features of the and there is always some reflection to direct the light on to the model and away face yet still creates the shadow from the from the studio surroundings. from the background, which becomes dark. nose towards the mouth. REMBRANDT SHORT REMBRANDT BROAD SPLIT SPLIT WITH FILL KIT: One D-lite RX4 head, one Clip-lock KIT: One D-lite RX4 head, one Clip-lock KIT: One D-lite RX4 head, one Clip-lock KIT: One D-lite RX4 head, one Clip-lock Stand, one Portalite Softbox Stand, one Portalite Softbox Stand, one Portalite Softbox Stand, one Portalite Softbox, one Use the principles of ‘Rembrandt’ lighting Use the principles of ‘Rembrandt’ lighting Position a light to one side of the model in small reflector to create the triangle of light on the face. -
Lamp Replacement for Omega D2 and D2-HI Series Aristo Archive
Aristo Archive Information Aristo Omega D Series Cold Light Head Enlargers: D2, D3. D4, D5 and Besler 4x5* Coverage: 4 x 5 inch Specifications: ■ Case Size: 6.5” Dia x 5” H ■ Watts: D2 Series: 70 D2-HI Series: 110 ■ Weight: D2 Series: 4.8 lbs D2-HI Series: 15.4 lbs Lamp Replacement for Omega D2 and D2-HI Series Aristo units designed for installation on Omega D Series enlargers come in a single unit and are self-contained. These normally are equipped with two cords on the cold light head. The two pronged cord operates the lamp and may be plugged into your timer or footswitch. The three prong cord, which operate the thermostatically controlled heater, is plugged into any available 115 Vac outlet. Installation of D Series Replacment Lamp: 1. Remove sheet metal screws 2. Separate the lamp housing and cover 3. Undo the connections between lamp and Transformer. (By unscrewing the wire nuts.) 4. At the electrode-cut the silicone between lamp reflector housing (metal) and glass electrode by a sharp knife or blade. 5. Cut the copper tie wire. 6. Carefully pull the lamp out from the clip. (Pull from position closer to the clip) 7. Position the new lamp over the clip. Push the lamp in the Clip. (By putting slight pressure at clip point only) 8. Connect one transformer black wire to one lamp wire. Repeat the same with the second black wire of the transformer to the other lamp wire. (Use the wire nuts you have removed in step 3 8. Put the cover back in position. -
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 -
Depth of Field Lenses Form Images of Objects a Predictable Distance Away from the Lens. the Distance from the Image to the Lens Is the Image Distance
Depth of Field Lenses form images of objects a predictable distance away from the lens. The distance from the image to the lens is the image distance. Image distance depends on the object distance (distance from object to the lens) and the focal length of the lens. Figure 1 shows how the image distance depends on object distance for lenses with focal lengths of 35 mm and 200 mm. Figure 1: Dependence Of Image Distance Upon Object Distance Cameras use lenses to focus the images of object upon the film or exposure medium. Objects within a photographic Figure 2 scene are usually a varying distance from the lens. Because a lens is capable of precisely focusing objects of a single distance, some objects will be precisely focused while others will be out of focus and even blurred. Skilled photographers strive to maximize the depth of field within their photographs. Depth of field refers to the distance between the nearest and the farthest objects within a photographic scene that are acceptably focused. Figure 2 is an example of a photograph with a shallow depth of field. One variable that affects depth of field is the f-number. The f-number is the ratio of the focal length to the diameter of the aperture. The aperture is the circular opening through which light travels before reaching the lens. Table 1 shows the dependence of the depth of field (DOF) upon the f-number of a digital camera. Table 1: Dependence of Depth of Field Upon f-Number and Camera Lens 35-mm Camera Lens 200-mm Camera Lens f-Number DN (m) DF (m) DOF (m) DN (m) DF (m) DOF (m) 2.8 4.11 6.39 2.29 4.97 5.03 0.06 4.0 3.82 7.23 3.39 4.95 5.05 0.10 5.6 3.48 8.86 5.38 4.94 5.07 0.13 8.0 3.09 13.02 9.93 4.91 5.09 0.18 22.0 1.82 Infinity Infinite 4.775 5.27 0.52 The DN value represents the nearest object distance that is acceptably focused.