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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. -
Seeing Like Your Camera ○ My List of Specific Videos I Recommend for Homework I.E
Accessing Lynda.com ● Free to Mason community ● Set your browser to lynda.gmu.edu ○ Log-in using your Mason ID and Password ● Playlists Seeing Like Your Camera ○ My list of specific videos I recommend for homework i.e. pre- and post-session viewing.. PART 2 - FALL 2016 ○ Clicking on the name of the video segment will bring you immediately to Lynda.com (or the login window) Stan Schretter ○ I recommend that you eventually watch the entire video class, since we will only use small segments of each video class [email protected] 1 2 Ways To Take This Course What Creates a Photograph ● Each class will cover on one or two topics in detail ● Light ○ Lynda.com videos cover a lot more material ○ I will email the video playlist and the my charts before each class ● Camera ● My Scale of Value ○ Maximum Benefit: Review Videos Before Class & Attend Lectures ● Composition & Practice after Each Class ○ Less Benefit: Do not look at the Videos; Attend Lectures and ● Camera Setup Practice after Each Class ○ Some Benefit: Look at Videos; Don’t attend Lectures ● Post Processing 3 4 This Course - “The Shot” This Course - “The Shot” ● Camera Setup ○ Exposure ● Light ■ “Proper” Light on the Sensor ■ Depth of Field ■ Stop or Show the Action ● Camera ○ Focus ○ Getting the Color Right ● Composition ■ White Balance ● Composition ● Camera Setup ○ Key Photographic Element(s) ○ Moving The Eye Through The Frame ■ Negative Space ● Post Processing ○ Perspective ○ Story 5 6 Outline of This Class Class Topics PART 1 - Summer 2016 PART 2 - Fall 2016 ● Topic 1 ○ Review of Part 1 ● Increasing Your Vision ● Brief Review of Part 1 ○ Shutter Speed, Aperture, ISO ○ Shutter Speed ● Seeing The Light ○ Composition ○ Aperture ○ Color, dynamic range, ● Topic 2 ○ ISO and White Balance histograms, backlighting, etc. -
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. -
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. -
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. -
Datenbank Kameras
Hersteller Kameraname Objektiv Verschluß Verschlußzeit Format Blende Filmtyp Zustand Baujahr Gewicht Tasche Toptron Microcam fashon 3 3PAGEN Versand Supercolor NoName ca. 11/20mm Zentral ca. 1/30 sec. 13 x 17 mm ca. 11 110er Kassette A-B 2000 70 Gramm Nein Adox 300 Schneider Kreuznach Xenar 2,8/45 mm Compur Rapid B, 1 - 1/150 sec. 24 x 36 mm 2,8 - 22 35er Kleinbildfilm C 1956 870 Gramm Ja Adox Golf 63 Adoxar 6,3/75 mm Vario B, 1/25 - 1/200 sec. 6 x 6 cm 6,3 - 22 120er Rollfilm C-D 1954 520 Gramm Ja Adox Fotowerke Frankfurt a. M. Adoxon 2,8 / 45 Adox Golf Ia mm Prontor 125 B, 1/30 - 1/125 sec. 24 x 36 mm 2,8 - 22 35er Kleinbildfilm B 1964 330 Gramm Ja Adox Polo mat 1 Schneider Kreuznach Radionar L 2,8/45 mm Prontor 500 LK B, 1/15-1/500 sec. 24 x 36 mm 2,8 - 22 35er Kleinbildfilm C 1959 - 60 440 Gramm Nein Adox (Wirgin) Adrette I Adox Wiesbaden Adoxar 4,5/5 cm Vario B, T, 1/25-1/100 sec. 24 x 36 mm 4,5 - 16 35er Kleinbildfilm C 1939 420 Gramm Ja Agfa Agfamatic easy Agfa Color Apotar 26 mm Zentral Auto 13 x 17 mm Auto 110er Pocketfilm B 1981 200 Gramm nein Agfa Agfamatic Makro Pocket 5008 Agfa Solinar 2,7 Zentral Auto 13 x 17 mm Auto 110er Pocketfilm B 1977 300 Gramm nein Agfa Agfamatic Optima 5000 Set Agfa Solinar 2,7 Zentral Auto 13 x 17 mm Auto 110er Pocketfilm B 1974 510 Gramm nein Agfa Agfamatic Optima 6000 Agfa Solinar 2,7 Zentral Auto 13 x 17 mm Auto 110er Pocketfilm B 1977 320 Gramm nein Agfa Agfamatic Pocket 1000 S Agfa Color Agnar 26 mm Zentral Auto 13 x 17 mm Auto 110er Pocketfilm B 1974 120 Gramm nein Agfa Agfamatic Pocket 2008 Agfa Color Agnar Zentral Auto 13 x 17 mm Auto 110er Pocketfilm B 1975 180 Gramm nein Agfa Agfamatic Pocket 3000 Agfa Color Apotar Zentral Auto 13 x 17 mm Auto 110er Pocketfilm B 1976 300 Gramm nein Agfa Agfamatic Pocket 4008 Agfa Color Apotar Zentral Auto 13 x 17 mm Auto 110er Pocketfilm B 1975 200 Gramm nein Agfa Billy (I) Jgestar 8,8 / ca. -
Digital Housing Instruction Manual
Digital Housing instruction manual for Olympus C-740 & C-750 Housing #6130.74 Ikelite Digital Housing instruction manual #6130.74 for Olympus C-740, C-750 Zoom Congratulations on your purchase of an Ikelite Digital Camera Housing. Ikelite has over 30 years of experience in the underwater photographic and lighting market. Our products are designed and built in the USA by Ikelite for both the professional and amateur photographer. The clear housing permits instant visual inspection of the camera and all sealing surfaces as well as complete monitoring of controls and camera LCD screens. Ikelite Digital Housings are slightly negative in salt water for stability. This housing has been water pressure tested at the factory. Housing is pressure tested to 200’ (60m). Shutter Mode Dial Release Mode Zoom Dial Flash External TTL Zoom Strobe Connector Shutter Release Flash Lens Port Lens Port Lid Lid Snap Snap SIDE VIEW Aluminum Tray FRONT VIEW Shutter Zoom Release Mode Dial Flash Quick Release Button Macro Drive Flash Mode Power AE Lock Lid Lid Snap Arrow Pad Snap Rubber Monitor Handles OK BACK VIEW 2 3 Opening the Housing Push Forward Hot Shoe with the C-740 1. Lid Snaps have a Lock. Hot Shoe Connector Hot Shoe Lid Snap Lock Connector To open, push Lid Snap Lock Storage Mount storage Mount O'Ring forward and lift as shown. The C-740 camera does Keep pressure on the Lid not have a hot shoe, it Hot Shoe Snap so it does not fly open is recommended that Connector quickly. Lift the housings Hot-Shoe OLYMPUS Some lid snaps have a lot of be secured in the Hot spring tension once they go over center, have a firm grip on the Shoe Storage Mount. -
LEICA SL-SYSTEM Technical Data
LEICA SL-SYSTEM Technical Data. Camera Type LeiCa SL (Typ 601) Order No. 10 850 Mirrorless Fullframe System Camera Current Firmware 2.0 Lenses Lens Mount Leica L-Mount Applicable lenses Leica Vario-Elmarit-SL 24–90 mm f/2.8–4 ASPH. Order No. 11 176 Leica APO-Vario-Elmarit-SL 90–280 mm f/2.8–4 Order No. 11 175 Leica Summilux-SL 50 mm f/1.4 ASPH. Order No. 11 180 Lenses from the Leica T Camera System, Leica M-Lenses with Leica M-Adapter T, Leica S-Lenses with Leica S-Adapter L, Leica R-Lenses with Leica R-Adapter L and Leica Cine lenses with Leica PL-Adapter L. Sensor Type 24-MP-CMOS-Sensor (24 × 36 mm) Resolution Full Frame (24 MP): 6000 × 4000 Pixel, APS-C (10 MP): 3936 × 2624 Pixel Filter IR-Filter, no Lowpass Filter ISO ISO 50–ISO 50000 Sensor Cleaning Provided Processor Type Leica Maestro II series Internal RAM 2 GB: 33 DNGs or 30 JPEGs and DNGs image Image Data Format JPEG, DNG Colordepth 14 bit (DNG), 8 bit (JPEG) JPEG Color Space Adobe RGB, ECI RGB, sRGB Motion File Format MP4, MOV Resolution 4K (4096 × 2160) @ 24 fps; 4K (3840 × 2160) @ 25 and 30 fps; 1080 @ 24, 25, 30, 50, 60, 100 and 120 fps; 720 @ 24, 25, 30, 50, 60, 100 and 120 fps Bitrate 8 bit (recording); 10 bit (HDMI not recording) Color sampling 4:2:2/10 bit (HDMI only); 4:2:0/8 bit (recording on SD card) Video L-Log selectable Audio Manual/Auto; Stereo microphone, 48 kHz, 16 bit; Wind elimination Audio external via Audio-Adapter Audio-In (3.5 mm phone jack), Audio-Out (3.5 mm phone jack) Movie Length Max. -
Photography Techniques Intermediate Skills
Photography Techniques Intermediate Skills PDF generated using the open source mwlib toolkit. See http://code.pediapress.com/ for more information. PDF generated at: Wed, 21 Aug 2013 16:20:56 UTC Contents Articles Bokeh 1 Macro photography 5 Fill flash 12 Light painting 12 Panning (camera) 15 Star trail 17 Time-lapse photography 19 Panoramic photography 27 Cross processing 33 Tilted plane focus 34 Harris shutter 37 References Article Sources and Contributors 38 Image Sources, Licenses and Contributors 39 Article Licenses License 41 Bokeh 1 Bokeh In photography, bokeh (Originally /ˈboʊkɛ/,[1] /ˈboʊkeɪ/ BOH-kay — [] also sometimes heard as /ˈboʊkə/ BOH-kə, Japanese: [boke]) is the blur,[2][3] or the aesthetic quality of the blur,[][4][5] in out-of-focus areas of an image. Bokeh has been defined as "the way the lens renders out-of-focus points of light".[6] However, differences in lens aberrations and aperture shape cause some lens designs to blur the image in a way that is pleasing to the eye, while others produce blurring that is unpleasant or distracting—"good" and "bad" bokeh, respectively.[2] Bokeh occurs for parts of the scene that lie outside the Coarse bokeh on a photo shot with an 85 mm lens and 70 mm entrance pupil diameter, which depth of field. Photographers sometimes deliberately use a shallow corresponds to f/1.2 focus technique to create images with prominent out-of-focus regions. Bokeh is often most visible around small background highlights, such as specular reflections and light sources, which is why it is often associated with such areas.[2] However, bokeh is not limited to highlights; blur occurs in all out-of-focus regions of the image. -
Nikon D5100: from Snapshots to Great Shots
Nikon D5100: From Snapshots to Great Shots Rob Sylvan Nikon D5100: From Snapshots to Great Shots Rob Sylvan Peachpit Press 1249 Eighth Street Berkeley, CA 94710 510/524-2178 510/524-2221 (fax) Find us on the Web at www.peachpit.com To report errors, please send a note to [email protected] Peachpit Press is a division of Pearson Education Copyright © 2012 by Peachpit Press Senior Acquisitions Editor: Nikki McDonald Associate Editor: Valerie Witte Production Editor: Lisa Brazieal Copyeditor: Scout Festa Proofreader: Patricia Pane Composition: WolfsonDesign Indexer: Valerie Haynes Perry Cover Image: Rob Sylvan Cover Design: Aren Straiger Back Cover Author Photo: Rob Sylvan Notice of Rights All rights reserved. No part of this book may be reproduced or transmitted in any form by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher. For information on getting permission for reprints and excerpts, contact permissions@ peachpit.com. Notice of Liability The information in this book is distributed on an “As Is” basis, without warranty. While every precaution has been taken in the preparation of the book, neither the author nor Peachpit shall have any liability to any person or entity with respect to any loss or damage caused or alleged to be caused directly or indirectly by the instructions contained in this book or by the computer software and hardware products described in it. Trademarks All Nikon products are trademarks or registered trademarks of Nikon and/or Nikon Corporation. Many of the designations used by manufacturers and sellers to distinguish their products are claimed as trademarks. -
Winter 2004-5
INDEX B+W filters . .4 Billingham . .77 Body adaptors . .10 Crumpler . .76–77 FILTERS / LENSES Canon filters . .10 Domke . .74, 78 Canon lenses . .11 Kata . .75, 105 Canon lenshoods . .14 Lowepro . .73-80 Cokin filters . .5–7 Peli . .74–75 Cosina lenses . .11 Bellows units . .42 Silvestri . .75 CAMERA ACCESSORIES Filter storage . .10 Close-up lenses . .41 Zing . .72 Hoya filters . .2-3 Copy tables & stand . .44–45 Kenko converters . .13 Extension tubes . .42 Lee filters . .8–9 Macro brackets . .43 Lenshoods . .14 Macro flash . .45 CAMERA SUPPORTS Minolta filters . .10 Novoflex macro . .41–44 Nikon filters . .10 Nikon lenshoods . .14 Nikon lenses . .12 Sigma lenses . .12 Canon flash . .50 Albums and mounts . .90-92 CLOSE-UP & MACRO Tamron lenses . .13 Flash accessories, general . .46 Braun projectors . .81 Voigtlander lenses . .13 Flash X-tender . .46 Guillotines . .89 Metz . .47–49 Leica projectors . .82 Minolta flash . .50 Light boxes, viewers . .84 Nikon flash . .51 Magnifiers . .83 Pentax flash . .51 Photo holders etc . .88 CAMERA FLASH Beattie screens . .15 PocketWizard . .58 Portfolios . .89 Bean bag . .22 Quantum batteries . .57 Print finishing . .88 Bronica accessories . .20 Vivitar . .47 Rollei projectors . .82 Cable and air releases . .22 Sigma . .48 Slide copier . .83 Canon accessories . .16–17 Sto-fen Omnibounce . .46 Slide and neg filing . .86–87 Cleaning and maintenance . .23 STUDIO LIGHTING Stroboframe . .52-53 Slide projection accessories . .82 Flarebuster . .22 Sunpak . .47 Slide magazines . .86 Lens and body caps . .15 Wein slaves . .58 Slide mounters and storage . .85 Lens cases . .15 Mamiya accessories . .20 Minolta accessories . .17 BAGS Nikon accessories . .18–19 Op/tech straps .