A Changing Picture
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The Time-Lapse Holy Grail
Granite Bay Software The Time-lapse Holy Grail www.granitebaysoftware.com The Time-lapse Holy Grail How to use GBTimelapse with Autoramp For Expert Users – and the curious! By Mike Posehn, Ph.D., aka Dr. Timelapse A great time-lapse is all about change and movement. However, changing light conditions often wreak havoc on your footage, resulting in brighter and darker frames which appear as annoying flicker in your time-lapse. Capturing a smooth time-lapse of a sunset from full daylight to darkest night, without flicker, has been called the “Time-lapse Holy Grail” because it has been practically impossible to achieve. However, you can now achieve this Holy Grail with GBTimelapse! In this White Paper, I describe the challenge of The Time-lapse Holy Grail and take you through the process of getting it with GBTimelapse. GBTimelapse has been used for National Geographic videography, the Brazil 2016 Summer Olympics preparations, Thursday Night Football network footage, and much, much more. GBTimelapse is a powerful tool that gives you control over many factors of your time-lapse capture. This White Paper will give you examples of the high tech calculations going on under the hood, what factors you can modify, and ideas for how to use GBTimelapse to best suit your needs. Granite Bay Software The Time-lapse Holy Grail www.granitebaysoftware.com Table of Contents Skip straight to the Holy Grail How-To, Expert Method and Easy Expert Method sections to get right to work. Or, browse through the full paper to get into technical detail. The Time-lapse Holy Grail Table of Contents 1. -
Diana Rebman, Photographer
Foto FanFare Newsletter June 2013 www.n4c.org & n4c.photoclubservices.com N4C Incorporated 1952 [email protected] Mark your Calendars for these upcoming events! Q.T. Luong National Parks Project Contra Costa CC May 30 7:15pm 2013 PSA International Conference September 15 – 21 N4C Calendar June 2013 10 -Board Meeting 7:30pm First Methodist Church Highly HonoredAward! 1600 Bancroft, San Leandro 15 – Competitions Judging Nature’s Best Wildlife Competition! Contact Gene Albright for PI location [email protected] Diana Rebman, Photographer Contact Gene Morita or Joan Field for Print location This photograph of a female Mountain Gorilla rolling her Gene Morita, [email protected] eyes at me was taken in Rwanda in Aug 2011. It was awarded Joan Field, [email protected] 16 – Happy Father’s Day!!! "Highly Honored" in the Endangered Species category of the July 2013 Nature's Best Photography competition. 4 – Happy 4th of July!!! It has also been selected to be included in the Smithsonian 8 -Board Meeting National Museum of Natural History in Washington, DC "Windland 7:30pm First Methodist Church Awards" exhibit. The show will hang from June 7, 2013 through 1600 Bancroft, San Leandro 20 – Competitions Judging early 2014. Contact Gene Albright for PI location I encourage anyone visiting Washington, DC to stop by and [email protected] see this exhibit. The images are stunning! Contact Gene Morita or Joan Field for Print location Congratulations Diana Rebman! Gene Morita, [email protected] Joan Field, [email protected] Berkeley Camera Club CONTRA COSTA CAMERA CLUB ED NIGHT Q.T. Luong is a full-time freelance nature and travel photographer from San Jose. -
F I L T E R K
FILTERKIT 322 Woodwork Lane Palatine IL 60067 P: 847-359-3550 F: 847-359-3567 v2.1 [email protected] June16, 2009 www.midopt.com ABOUT MIDWEST OPTICAL SYSTEMS FK100 FILTER KIT CONTENTS ARTICLES Founded in 1988 as a manufacturer of custom precision Our continued commitment to optical components and systems, we have since been innovation has lead to the rotating Machine Vision Filters An overview involved exclusively in the design, manufacture, import Right Angle Attachment (left) that gives you more options for placing and export of vision-specific elements used by a diverse cameras in your system, and the Types of Filters The 8 major types of filters produced by MidOpt for machine vision applications variety of industries and end users. Over time, the company multi-purpose Slip Mount that lets has evolved and is now recognized worldwide as the premier you add filters to lenses when Machine v/s Photographic Filters Why photographic filters are not suitable for machine vision operations resource for filters, lenses and accessories used in industrial (1) there are no filter threads Testing with Filters Testing the effects of filtering and monochromatic lighting imaging applications. and (2) when a filter is desired for use on a wide- Increase Resolution Filters with High-Resolution and Telecentric Lenses; Chromatic Aberration By combining this extensive optics background with our angle lens. expertise in machine vision imaging, MidOpt continues Filter Applications UV Fluorescence, Polarizing, IR Blocking and Light Balancing Filters to develop economical and solutions for industrial image processing that are simply not found elsewhere. We provide FILTER NO. -
Reveni Labs Light Meter User Manual and Operating Instructions Revision: 4 Date: 2020-04-16
Reveni Labs Light Meter User Manual and Operating Instructions Revision: 4 Date: 2020-04-16 Revision: 4 – 2020-04-16 Layout and Features Key Features • Ambient reflective metering • Single LR44 battery • Integrated flash/accessory • EV Display feature shoe mount • 45-degree cone sensor field • Bright and crisp OLED of view display • Left and right lanyard/strap • Simple controls and menu holes • Aperture or Shutter priority • Dimensions: 0.92(22.5) x mode 0.86(21.8) x 0.71(17.8) • Exposure compensation in inches(mm) 1/3 stops (-2 to +2 stop • Weight: 9g incl. battery range) Technical Data • Shutter speed range 1hr – 1/8000th sec in 1 stop • Aperture range increments • Film ISO range F0.7 – f1024 in 1 stop increments ISO 1 – ISO 12800, see “Setting Film ISO” for full list • EV Range: EV 2 – EV 19.5 in 0.1EV increments (@ISO 100) Page 2 of 14 Revision: 4 – 2020-04-16 Getting familiar with your meter The Reveni Labs Light Meter is intended for easy attachment to the top of a camera via the flash/accessory “hot/cold” shoe mount. This is a common feature on top of many cameras made in the past 100 years. The precise dimensions of the shoe vary from camera to camera so if initially if the fit of your meter is tight, it will “wear” slightly over the first several uses and become more free-moving. This is not a problem as there are integrated lever springs to ensure the meter does not fall out of the camera mount. -
Intro to Digital Photography.Pdf
ABSTRACT Learn and master the basic features of your camera to gain better control of your photos. Individualized chapters on each of the cameras basic functions as well as cheat sheets you can download and print for use while shooting. Neuberger, Lawrence INTRO TO DGMA 3303 Digital Photography DIGITAL PHOTOGRAPHY Mastering the Basics Table of Contents Camera Controls ............................................................................................................................. 7 Camera Controls ......................................................................................................................... 7 Image Sensor .............................................................................................................................. 8 Camera Lens .............................................................................................................................. 8 Camera Modes ............................................................................................................................ 9 Built-in Flash ............................................................................................................................. 11 Viewing System ........................................................................................................................ 11 Image File Formats ....................................................................................................................... 13 File Compression ...................................................................................................................... -
Notes on View Camera Geometry∗
Notes on View Camera Geometry∗ Robert E. Wheeler May 8, 2003 c 1997-2001 by Robert E. Wheeler, all rights reserved. ∗ 1 Contents 1 Desargues’s Theorem 4 2 The Gaussian Lens Equation 6 3 Thick lenses 8 4 Pivot Points 9 5 Determining the lens tilt 10 5.1Usingdistancesandangles...................... 10 5.2Usingbackfocus........................... 12 5.3Wheeler’srules............................ 13 5.4LensMovement............................ 14 5.5BackTilts............................... 14 6Depthoffield for parallel planes 15 6.1NearDOFlimit............................ 15 6.2FarDOFlimit............................ 17 6.3DOF.................................. 17 6.4Circlesofconfusion.......................... 18 6.5DOFandformat........................... 19 6.6TheDOFequation.......................... 19 6.7Hyperfocaldistance......................... 20 6.8Approximations............................ 21 6.9Focusgivennearandfarlimits................... 21 6.9.1 Objectdistances....................... 21 6.9.2 Imagedistances........................ 22 7Depthoffield, depth of focus 23 8Fuzzyimages 24 9Effects of diffractiononDOF 26 9.1Theory................................. 26 9.2Data.................................. 27 9.3Resolution............................... 29 9.4Formatconsiderations........................ 31 9.5Minimumaperture.......................... 32 9.6Theoreticalcurves.......................... 33 10 Depth of field for a tilted lens 35 10.1NearandfarDOFequations.................... 35 10.2 Near and far DOF equations in terms of ρ ............ -
Camerafilters
Section8 CameraFilters Introduction . 324-325 Tiffen Intro Kits . .376 B+W Glass . 326-344 Heliopan Glass . 345-349 Hoya Glass . 350-358 Tiffen Glass . 359-376 Cokin Resin . 377-379 Hitech Resin . 380-385 Lee Resin . 386-393 Lindahl Resin . 393-394 Kodak Flexible . 395-398, 400-401 Lee Flexible . 395-401 Opliflex Flexible . 395-398 Filter Holders . 401-402 Filter Pouches . .376 INTRODUCTION FILTERS Expand Your Vision With Filters If you are serious about photography (and especially if you take pictures for a living), you want as much control as possible over your images. Filters are essential tools that provide control over the quality of the image that appears on your negative or transparency. Filters are also used as an addition to the creative photographer’s palette. A well-chosen filter can not only correct a multitude Hitech 4x4˝ Color Graduated problems on location or in the studio, it can also change the overall look of a scene and the nature of the final filters, are recommended for all outdoor shooting. CAMERA FILTERS work from a literal depiction to an interpretive, even In Color photography, you can add a lightly-colored abstract, creation. filter to enhance an already-dominant color, to add a There are a few basic principles that will help you choose color that isn’t there, or to create a mood. You can also and use the right filter for any given situation. change the mood of a photo by using a fog filter, which 324 will make even the sunniest scene look like it is in deep fog. -
Types of Light
PHOTO 1 Photo One Assignment 1 Reading Light & Lighting Types TYPES OF LIGHT 1) DIRECT LIGHT THAT COMES FOR THE SAME SOURCE OR THE SAME DIRECTION. TYPICALLY, SUN ON A CLEAR DAY OR LIGHT FROM A FLASH OR STROBE. Ø “hot” specular highlights Ø “hard-edged” shadow on subject Ø Distinct cast shadow Ø Loss of some shad ow detail Ø “harsh” look 2) DIFFUSED LIGHT THAT IS SCATTERED OR COMING FROM MANY DIRECTIONS. TYPICALLY SUN LIGHT ON AN OVER-CAST DAY OR LIGHT IN LARGE SHADOWS AND INDOOR SPACES WHICH ARE LIT BY OVERHEAD FLORESCENT. Ø Few distinct shadows on subject Ø No specular highlights Ø Lower contrast Ø “Flat” look Ø Very good at rendering details 3) FILL LIGHT AKA DIRECT/DIFFUSED DIRECTIONAL LIGHT, WHICH HAS BEEN SOFTENED BY ILLUMINATION OF SHADOW AREAS. TYPICALLY Ø Best of direct and diffused lights combined Ø More normal contrast relationships Ø Good “3-D” characteristics Ø Good shadow detail Ø Best general portrait lighting Ø “Natural” look Copyright 2010 by Eric Bosler For this assignment: Take 3 images of each different lighting type listed above using a different shutter speed or f-stop for each, for a total of nine (9) images this technique is known as a {bracket} Materials: 1. Full Sun (early morning or late afternoon are best) 2. Camera 3. Subject 4. Reflective Surface (white cardboard, white fabric, windshield reflector, crumbled aluminum foil) 5. Shade First camera setting will be the recommended one for the lighting conditions. Best time to do this assignment will be early morning or late afternoon in full sun. -
A New Method for the Measurement of Photographic Filter Factors
. A NEW METHOD FOR THE MEASUREMENT OF PHOTOGRAPHIC FILTER FACTORS By Raymond Davis ABSTRACT A new method is described whereby the filter factors for orthochromatic and pan- chromatic plates with various filters may be determined with apparatus using a source of light which is corrected in its spectral energy distribution to closely approxi- mate that of average noon sunlight. The apparatus is essentially a single light source photometer in which two beams one from either side of the lamp, are reflected so that they fall side by side on the photographic plate which is used in conjunction with the filter. In the path of one of these beams the filter is inserted, consequently weakening the light in that beam. The lamp, being movable between two of the reflectors, is shifted toward the filter, thus increasing the intensity of the beam on the filter side and diminishing it on the other. Successive exposures are thus made at different lamp positions, so chosen that some fall on one side of the photographic match and some on the other. After development the differences in density between each pair of exposures is measured, and the position of a photographic match obtained therefrom by plotting these differences against the scale of the instrument. Knowing the length of the path of the two beams of light the law of inverse squares is applied to calculate the filter factor. CONTENTS Page I. Introductory 80 II. Apparatus and method of procedure 80 1. Description of instrument 80 2. Experimental procedure 81 3. Measurement of the plates 83 III. -
Dfx V4 User Guide • • Copyright• 2 • • • COPYRIGHT
Dfx v4 User Guide • • Copyright• 2 • • • COPYRIGHT No part of this document may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying and recording, for any purpose without the express written consent of Digital Film Tools. Copyright © Digital Film Tools, LLC. 2015. All Rights Reserved November 17, 2015 • • • Dfx User Guide • • • • • About Us• 3 • • • ABOUT US Tiffen has been a leading manufacturer and supplier of photographic filters and lens accessories for the consumer/professional imaging and the motion picture and broadcast television industries for over 69 years. The company has a rich history of innovative product design, superior optical consistency and unparalleled quality. Tiffen has been recognized for its product and engineering excellence earning two Technical Achievement Awards and a Scientific and Engineering Award from the Academy of Motion Picture Arts & Sciences, as well as an Emmy Award from the Academy of Television Arts and Sciences. The company's Special Effects optical filters, once an exclusive of the Motion Picture and Television industry are now available to still photographers and videographers through the Tiffen Hollywood F/X filter line and digitally through the Dfx line of software. The Dfx software is produced in collaboration with Digital Film Tools, a computer software company which is an off-shoot of a Los Angeles based motion picture visual effects facility. Their work includes hundreds of feature films, commercials and television shows. Together, our combined understanding of optical filters and computer software creates an unbeatable combination. • • • Dfx User Guide• • • • • About this Guide• 4 • • • ABOUT THIS GUIDE This User Guide is a reference for the Tiffen Dfx Digital Filter Suite. -
Copy Photography Ii Us Army Still Photographic Specialist Mos 84B Skill Level 1
SUBCOURSE EDITION SS0512 7 COPY PHOTOGRAPHY II US ARMY STILL PHOTOGRAPHIC SPECIALIST MOS 84B SKILL LEVEL 1 AUTHORSHIP RESPONSIBILITY: SSG Dennis L. Foster 560th Signal Battalion Lowry AFB, Colorado AUTOVON: 926-2521 COMMERCIAL: (303) 370-2521 COPY PHOTOGRAPHY II SUBCOURSE NO. SS 0512-7 (Developmental Date: 30 June 1987) US Army Signal Center and Fort Gordon Fort Gordon, Georgia Two Credit Hours GENERAL Copy Photography II subcourse is designed to teach tasks related to copy photography. Information is provided on filters; function, selection, and filter factors; copy film; and procedures for making a photographic copy. This subcourse is presented in three lessons. Each lesson corresponds to a terminal learning objective as listed below. Lesson 1: USE AND PURPOSE OF FILTERS IN COPY WORK TASK: Determine filter functions, selection of filters, and determine filter factors. CONDITIONS: Given information and diagrams about filters, selection of filters, filter factors, and types of filters. STANDARDS: Demonstrate competency of the task skills and knowledge by correctly responding to 80 percent of the multiple-choice test covering filter functions, selection of filters, and filter factors. (This objective supports SM Task 113-578-1014, Alter the Rendition of Colors Recorded on Black and White Film) i Lesson 2: COPY FILMS TASK: Determine the types of copy film and their uses. CONDITIONS: Given information and diagrams about copy films and their uses. STANDARDS: Demonstrate competency of the task skills and knowledge by correctly responding to 80 percent of the multiple-choice test covering types of copy film and their uses. (This objective supports SM Task 113-578-1012, Perform Copy Photography Using Camera Set KS-7A) Lesson 3: PERFORM COPY PHOTOGRAPHY TASK: Describe procedures for making a photographic copy. -
Seven Theses on Photography
Thesis Eleven 00(0) 1–16 Seven theses on ª The Author(s) 2012 Reprints and permissions: sagepub.co.uk/journalsPermissions.nav photography DOI: 10.1177/0725513612457864 the.sagepub.com Christopher Pinney University College London, UK Abstract Benjamin and Barthes provide the starting point for a series of inter-connected propositions which seek to return the theorization of photography to the primacy of the pro-filmic. The index is reclaimed as a trace of the photographic event, capable only of delivering what Barthes termed the corps. The resulting contingency and exorbitance are the basis of photography’s prophetic and ‘troubling’ potential which free us from viewing photography as simply a screen for the social. The argument is advanced largely using material from India and a case is made for a new conception of ‘world system photography’ which folds ‘belated’ histories into the ‘global’. Keywords contingency, index, India, photography, pro-filmic 1. All photography is part of world system photography To think and write about Indian photography (as the present writer does) is to be confronted by the problem of ex-nomination. If you study European photography then you are likely to be considered a photographic theorist. If you study Indian photography you are likely to be considered a commentator on India photography. The European placement fades away while, conversely, India is underlined as a location, a ‘belated’ case study of what has already happened elsewhere in a purer form. Perhaps an original and paradigm-changing individual working in the ‘margin’ will one day disrupt this, reconfiguring a very powerful set of expectations.