Performance Evaluation of Several High-Quality Digital Cameras
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The IQ Camera System
The IQ camera system Unlimited creativity at your fingertips “I am amazed by the image quality I’ve gotten ‘out of the box’ with the Phase One IQ180 on the Phase One 645DF camera. I can create images with more detail and unique looks than with any other camera out there. It helps me develop styles unique to me,” Jens Honoré, lifestyle photographer. World leading image quality Realize your vision. The IQ180 digital back is the world’s most powerful commercial photographic capture device. With up to 80 megapixels resolution, 12.5 f-stops extreme dynamic range and Capture One, the world’s leading RAW converter, it delivers superior image quality for the world’s leading photographers. © Jens Honoré Touch the future With the launch of the IQ series digital backs, Phase One has stepped into the future of medium format photography. Every component in this new line of digital backs is new or has been redesigned compared with previous generations digital backs. The result is a digital camera back, which sets the industry standard with the highest resolution image sensor, the highest dynamic range, the first camera featuring a USB3 connection, a big 3.2” high resolution touch screen and much more…. The new IQ series digital backs offer up to 80 megapixels resolution The IQ series digital backs supports your photography in a variety of work captured in full-frame 645 format. With it you can capture images of conditions. You can capture your images with 80 megapixels resolution stunning quality with extreme detail reproduction. The high resolution or you can use the Sensor+ technology and go for a faster workflow, cap- You can familiarize yourself with the IQ digital back gives you maximum versatility with your images, ensuring high quality turing images with up to 20 megapixels resolution at 4 times higher ISO over the next pages and book a personal product and usage, even when you work with cropped images. -
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. -
645AFD Instruction Manual Companion for Digital Photography
Mamiya 645 AFD Instruction Manual Companion for Digital Photography Mamiya 645 AFD Instruction Manual Companion for Digital Photography Congratulations on your purchase of the Mamiya 645AFD. To make the transition from film to digital easier, we are including this digital companion that explains all of the new indicators you will see on the LCDs of your Mamiya 645AFD. Please read the owner’s manual before reading this companion. Because the Mamiya 645AFD was made to communicate with digital camera backs, these indicators will inform you of the status of the communications between your Mamiya 645AFD and digital camera back. If you do not have a digital back, these indicators will not appear and you do not have to read any further. There are three basic modes that your Mamiya 645 AFD goes through when taking a digital image. First is the Normal or pre-capture mode. The camera is in this mode before the shutter is released. While in this mode the camera virtually acts as if there were a film magazine attached. Shutter speeds and apertures are displayed on the internal and external LCD displays. The second mode is after the shutter release button has been pressed. This is the Capture mode. At this time the Mamiya 645 AFD will start to act very differently when a digital back is attached. There is a whole new set of indicators that will be displayed on the LCD displays of the camera. The After Capture mode is the third and final mode. Again, in this mode there are new indicators that will appear on the camera’s LCD displays. -
User Manual Hasselblad CF Digital Camera Back Range C O N T E N T S
User Manual Hasselblad CF Digital Camera Back Range C O N T E N T S Introduction 3 5 MENU—ISO, White balance, Media, Browse 31 1 General overview 6 Menu system overview 31 Parts, components and control panel 8 Navigating the menu system 31 Initial setup 10 Language choice 33 Shooting and storage modes 11 ISO 33 White balance 34 2 Initial General Settings 14 Media 34 Overview of menu structure 15 Browse 35 Setting the menu language 17 6 MENU—Storage 36 Delete 37 3 Storage overview – Format 42 working with media and batches 18 Copy 42 Batc hes 18 Batch 43 Navigating media and batches 18 Default Approval Level 44 Creating new batches 20 Using Instant Approval Architecture 21 7 MENU—Settings 45 Reading and changing approval status 22 User Interface 46 Browsing by approval status 22 Camera 48 Deleting by approval status 23 Capture sequence 50 Connectivity 51 4 Overview of viewing, deleting Setting exposure time/sequence 54 and copying images 24 Miscellaneous 56 Basic image browsing 24 About 57 Choosing the current batch 24 Default 58 Browsing by approval status 24 Zooming in and out 24 8 Multishot 59 Zooming in for more detail 25 Thumbnail views 25 General 59 Preview modes 26 Histogram 27 9 Flash/Strobe 60 Underexposure 27 General 60 Even exposure 27 TTL 60 Overexposure 27 Full-details 27 10 Cleaning 61 Battery saver mode 28 Full-screen mode 28 11 Equipment care, service, Overexposure indicator 28 technical spec. 63 Deleting images 29 General 63 Transferring images 29 Technical specifications 64 Inset photo on cover: © Francis Hills/www.figjamstudios.com.Not all the images in this manual were taken with a Hasselblad CF. -
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. -
Which DSLR? [Complete]
John Henshall’s Chip Shop WHICH DSLR? John Henshall looks at today’s leading Digital – and Film – Single Lens Reflex cameras Canon EOS-1Ds Mark II Nikon D2x Fujifilm FinePix S3 Pro Canon EOS-350D Kodak DCS ProSLR/c Nikon D50 Canon EOS-20D Nikon F6 Nikon D70s ntil 1999, choosing a DSLR suit or conflict with your needs is perhaps even the last – film SLR, the was easy because there was particularly difficult. Nikon F6 . This was loaded with the just one manufacturer: For example, do you want very high latest 35mm film: the new Fujichrome U Kodak. There were no DSLRs resolution, or accurate – or pleasing – Velvia Professional 100 . The film was from Canon or Nikon but Kodak made colour, or high sensitivity with low processed by one of the leading London m o c models for Canon and Nikon lenses. noise? Or is price or weight the most professional laboratories and scanned . e r The situation is much different now. important factor? at 4000 pixels per inch using the latest t n e c Kodak has ceased manufacture of In an attempt to evaluate some of Nikon Super CoolScan 9000 scanner. - i p DSLRs, whilst Canon and Nikon these factors, I got together the major My first shot was of Bear House. e @ n themselves are now the major players. Canon– and Nikon–mount DSLRs for a Over the years, I have been waiting for h o j l There are other manufacturers, of series of side-by-side real-world shots, a camera which could resolve the l a h course, but their systems are nowhere intended to simulate everyday shooting house name in this shot. -
Operating Manual Foreword
DIGITAL U/W HOUSING FOR NIKON D2 SERIES OPERATING MANUAL FOREWORD Thank you for having selected the AQUATICA Pro Digital Camera Housing System for your underwater photography. The AQUATICA Pro Digital Housing is the result of a long and continuing relationship with the most demanding under- water photographers in the world. Each housing is handcrafted, quality checked and pressure tested to 300 feet by a small group of specially trained individuals, each of whom takes the utmost pride and satisfaction in offering the best underwater camera housing in the world. The Aquatica Pro Digital Housing was designed for optimum technical and optical performance and to provide easy and efficient underwater access to essantials functions and controls of the Nikon D2X and D2Hs and D2H SLR. This manual assumes that the User is already familiar with the Nikon D2 series of cameras. If not, please read the Nikon instruction Manual before attempting to use the housing. With basic care and maintenance, your AQUATICA housing will give you a lifetime of enjoyment and satisfaction in pro- ducing underwater images. Please read this manual carefully before using your housing for the first time and note that: wherever cited the right hand is your right when using the housing. SAFETY PRECAUTIONS Improper transportation handling or use of this housing might cause a flood or malfunction. Please read and follow the following precautions: • Store and transport the housing in a sturdy, shock proof container and avoid travelling with the camera mounted inside the housing as impact forces especially on the external push buttons will be transferred to the camera. -
Indoor Navigation Based on Fiducial Markers of Opportunity
University of Calgary PRISM: University of Calgary's Digital Repository Graduate Studies The Vault: Electronic Theses and Dissertations 2013-12-05 Indoor Navigation based on Fiducial Markers of Opportunity Lakhani, Mazhar Ali Lakhani, M. A. (2013). Indoor Navigation based on Fiducial Markers of Opportunity (Unpublished master's thesis). University of Calgary, Calgary, AB. doi:10.11575/PRISM/26507 http://hdl.handle.net/11023/1176 master thesis University of Calgary graduate students retain copyright ownership and moral rights for their thesis. You may use this material in any way that is permitted by the Copyright Act or through licensing that has been assigned to the document. For uses that are not allowable under copyright legislation or licensing, you are required to seek permission. Downloaded from PRISM: https://prism.ucalgary.ca UNIVERSITY OF CALGARY Indoor Navigation based on Fiducial Markers of Opportunity by Mazhar Ali Lakhani A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF SCIENCE DEPARTMENT OF ELECTRICAL AND COMPUTER ENGINEERING CALGARY, ALBERTA NOVEMBER, 2013 © Mazhar Ali Lakhani 2013 Abstract Indoor navigation has gained significant importance in the last decade due to its applications in the location based services industry. The outdoor navigation technology of GNSS by itself does not offer good solutions due to presence of multipath and low SNR in indoor environments. Complimentary sensors like IMU, magnetometers, cameras, etc., have their own set of problems. A camera however, provides a wealth of information for position estimation. The main aim of this thesis is to analyse camera based navigation systems using stationary figures of opportunity. -
Second Release)
ICT-PSP Project no. 297158 EUROPEANAPHOTOGRAPHY EUROPEAN Ancient PHOTOgraphicvintaGe repositoRies of digitAized Pictures of Historical qualitY Starting date: 1st February 2012 Ending date: 31st January 2015 Deliverable Number: D 3.1.2 Title of the Deliverable: Digitised material (second release) Dissemination Level: Public Contractual Date of Delivery to EC: Month 30 Actual Date of Delivery to EC: July 2014 Project Coordinator Company name : KU Leuven Name of representative : Fred Truyen Address : Blijde-Inkomststraat 21 B-3000 Leuven PB 3301 Phone number : +32 16 325005 E-mail : [email protected] Project WEB site address : http://www.europeana-photography.eu Page 1 of 37 EUROPEANAPHOTOGRAPHY Deliverable D3.1.2 Digitized material (second release) Context WP 3 Digitisation WPLeader CRDI – Ajuntament de Girona Task 3.1.2 Digitised material (second release) Task Leader CRDI – Ajuntament de Girona Dependencies Author(s) David Iglésias (CRDI. Ajuntament de Girona) Contributor(s) Joan Boadas (CRDI. Ajuntament de Girona), Promoter, Fondazione Alinari, TopFoto, Imagno, Parisienne, ICCU, Polfoto, Gencat Cultura, United-Archives, NALIS, MHF, Arbejdermuseet, ICIMSS, KU Leuven, Lithuanian Museums Reviewers Sofie Taes (KU Leuven), Davide Madonna (ICCU), Nikolaos Simou (NTUA) Approved by: History Version Date Author Comments 0.1 24/07/2014 David Iglésias - CRDI 1.0 30/07/2014 David Iglésias - Updated according CRDI to the peer review Statement of originality: This deliverable contains original unpublished work except where clearly indicated otherwise. Acknowledgement of previously published material and of the work of others has been made through appropriate citation, quotation or both. Page 2 of 37 EUROPEANAPHOTOGRAPHY Deliverable D3.1.2 Digitized material (second release) TABLE OF CONTENTS 1 EXECUTIVE SUMMARY .................................................................................................................... -
Programmable Image-Based Light Capture for Previsualization
ii Abstract Previsualization is a class of techniques for creating approximate previews of a movie sequence in order to visualize a scene prior to shooting it on the set. Often these techniques are used to convey the artistic direction of the story in terms of cinematic elements, such as camera movement, angle, lighting, dialogue, and char- acter motion. Essentially, a movie director uses previsualization (previs) to convey movie visuals as he sees them in his ”minds-eye”. Traditional methods for previs include hand-drawn sketches, Storyboards, scaled models, and photographs, which are created by artists to convey how a scene or character might look or move. A recent trend has been to use 3D graphics applications such as video game engines to perform previs, which is called 3D previs. This type of previs is generally used prior to shooting a scene in order to choreograph camera or character movements. To visualize a scene while being recorded on-set, directors and cinematographers use a technique called On-set previs, which provides a real-time view with little to no processing. Other types of previs, such as Technical previs, emphasize accurately capturing scene properties but lack any interactive manipulation and are usually employed by visual effects crews and not for cinematographers or directors. This dissertation’s focus is on creating a new method for interactive visualization that will automatically capture the on-set lighting and provide interactive manipulation of cinematic elements to facilitate the movie maker’s artistic expression, validate cine- matic choices, and provide guidance to production crews. Our method will overcome the drawbacks of the all previous previs methods by combining photorealistic ren- dering with accurately captured scene details, which is interactively displayed on a mobile capture and rendering platform. -
Nikon D3s Menu Settings for Sports Photographers
Nikon D3s Menu Settings for Sports Photographers Whether at the ballpark or via email, two of the most frequently asked questions I hear are “what are your basic settings when shooting sports using the Nikon D3s” or “how is your Nikon D3s set up? I’ve been shooting sports for a living for over 25 years, with clients ranging from Sports Illustrated to Major League Baseball and The Chicago White Sox. The approach I use when setting up with my equipment might not be considered conventional, but I can tell you this; it works. I refer to it as my unscientific approach to better sports photography. I trust and believe in what works in the real world. I’m always open to new ideas and so should you. If your images are already perfect, stop here. But if you shoot sports action and are looking for ways to improve your images and increase your "keeper percentage", or are setting up a Nikon D3s for the first time, read on. I decided to dissect the menu of my trusty D3s and share my personal settings while discussing a few in detail so that other sports photographers can use them as a point of reference. As the old adage goes, please remember that these are my own personal settings and opinions and should be used as a guide only. No one set of rules (or in this case, settings) should be considered the absolute only way to go. I highly recommend taking the time to experiment and come up with a few of your own favorites. -
High ISO Heroes Which APS-C and Full-Frame Cameras Perform the Best in Poor Light?
Saturday 4 February 2017 High ISO heroes Which APS-C and full-frame cameras perform the best in poor light? All-new Passionate about photography since 1884 BUYING GUIDE COMPLETE GUIDE 550 cameras & lenses listed ISO & rated and How to get pictures as good as this at high ISO Get great low light images and keep noise right down ● What ISO and when ● Best noise removers ● Settings of the pros Digital ISO demystified Fujifilm Where noise comes from first look and how it relates to X-T20 mirrorless & sensor size & resolution X100F compact The high ISO king? We see how Nikon’s D5 copes with ice-hockey boot camp Ice on the black sand beach at Jökulsárlón.raw ON THE ICE BEACH IT’S A DARK, SOMBRE WINTER’S DAY. The grey cloud is low, and the rain is steady, but the muted light is just perfect for the subject matter all around me, namely waves lapping around the artfully sculpted blocks of ice on the black sand. Now I’ve seen many images of this unique combination before – it’s an Icelandic photographic staple – but there’s no resisting the appeal of such stark, elemental beauty. In fact it’s a beauty that is enhanced by the flat lighting, a cold scene of black and blue with simple graphic appeal. But as so often is the case here in Iceland the conditions are difficult: apart from the rain, salty spray is being driven inshore off the waves and onto my increasingly crusty camera, lens and filter. So be it, such adversity is now familiar.