DOCSLIB.ORG

Datenbank Kameras

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
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. 105 mm Agfa Billyverschluß B, 1/25-1/100 sec. 6 x 9 cm 8,8 - 18 120er Rollfilm C 1928 - 31 540 Gramm Nein Agfa Billy 0 Vorkrieg Jgestar Agfa Anastigmat 8,8/120 mm Zentral B, 1/25-1/100 sec. 6 x 9 cm 8,8 - 18 120er Rollfilm C 1928 - 30 500 Gramm Nein Agfa Billy Clack Nr. 74 Bilinar 11/110 mm Drehscheiben ca. 1/30 sec. 6 x 9 cm 11 - 22 120er Rollfilm C 1934 - 42 580 Gramm Ja Agfa Billy Compur Apotar Agfa Anastigmat 4,5/105 mm Compur B, T, 1-1/250 sec. 6 x 9 cm 4,5 - 32 120er Rollfilm A-B 1935 680 Gramm Ja Agfa Billy Compur Agfa Solinar 4,5/105 mm Compur B, T, 1-1/250 sec. 6 x 9 cm 4,5 - 32 120er Rollfilm B 1935 670 Gramm Nein Agfa Billy I Igestar ca.8,8/105 mm Agfa Zentral B, 1/25-1/100 sec. 6 x 9 cm 8,8 - 18 120er Rollfilm B-C 1931 500 Gramm Nein Agfa Billy I Agfa Agnar 6,3/105 mm Pronto B, 1/25-1/200 sec. 6 x 9 cm 6,3 - 22 120er Rollfilm A-B 1950 500 Gramm Ja Agfa Billy II Jgestar 7,7 / ca. 105 mm Agfa Billyverschluß B, 1/25-1/100 sec. 6 x 9 cm 7,7 - 16 120er Rollfilm C 1931 - 33 480 Gramm Nein Agfa Billy Record Anastigmat Igestar 8,8/105 mm Zentral B, 1/25-1/100 sec. 6 x 9 cm 8,8 - 16 120er Rollfilm C 1933 500 Gramm Ja Agfa Billy Record Anastigmat Igestar 8,8/105 mm Zentral B, 1/25-1/100 sec. 6 x 9 cm 8,8 - 16 120er Rollfilm D-E 1938 500 Gramm Nein Agfa Billy Record Apotar Agfa Anastigmat 4,5/105 mm Prontor II B, 1-1/150 sec. 6 x 9 cm 4,5 - 32 120er Rollfilm A-B 1936 - 39 600 Gramm Ja Agfa Box 04? Meniscuslinse ca. 11/60 mm Drehscheiben B, ca. 1/30 sec. 4,5 x 6 cm ca. 11 127er Rollfilm D-E 1937 - 38 300 Gramm Nein Agfa Box 44 (Preisbox) Meniscuslinse ca. 11/105 mm Drehscheiben B, T, ca. 1/30 sec. 6 x 9 cm ca. 11 120er Rollfilm C 1932 500 Gramm Nein Agfa Box 45 Meniscuslinse ca. 11/105 mm Drehscheiben B, T, ca. 1/30 sec. 6 x 9 cm ca. 11 120er Rollfilm B 1938 450 Gramm Ja Agfa Box 64 (Box Spezial) Meniscuslinse ca. 11/105 mm Drehscheiben T, ca. 1/30 sec. 6 x 9 cm ca. 11 120er Rollfilm C 1931 500 Gramm Nein Agfa Clack Meniscuslinse ca. 11/75 mm Drehscheiben B, M, ca. 1/30 sec. 6 x 9 cm 11 - 16 120er Rollfilm B-C 1954 480 Gramm Ja Agfa Click I Achromat 8,8/75 mm Drehscheiben ca. 1/30 sec. 6 x 6 cm 11 - 16 120er Rollfilm B 1958 180 Gramm Nein Seite 1 von 33 Hersteller Kameraname Objektiv Verschluß Verschlußzeit Format Blende Filmtyp Zustand Baujahr Gewicht Tasche Agfa Click II Achromat 8,8/75 mm Drehscheiben ca. 1/30 sec. 6 x 6 cm 11 - 16 120er Rollfilm B-C 1959 200 Gramm Ja Agfa Flexilette Agfa Color Apotar 2,8/45 mm Prontor B, 1-1/500 sec. 24 x 36 mm 2,8 - 22 35er Kleinbildfilm B 1960 800 Gramm Ja 35er Kleinbildfilm Agfa Iso Rapid Meniscuslinse ca. 11/45 mm Drehscheiben ca. 1/30 sec. 24 x 24 mm ca. 11 (Rapid) C 1967 170 Gramm Nein Wettereinstellu 35er Kleinbildfilm Agfa Iso Rapid I (Mod. 1965) NoName ca. 8/40 mm Parator Auto 24 x 36 mm ng (Rapid) B 1965 - 70 180 Gramm Ja Agfa Isola Agfa Agnar 6,3/75 mm Singlo-2 B, 1/30 und 1/100 sec. 6 x 6 cm 6,3 - 11 120er Rollfilm A 1957 400 Gramm Ja Agfa Isola I Meniscuslinse ca. 11/70 mm Drehscheiben B, M, ca. 1/30 sec. 6 x 6 cm 11 - 16 120er Rollfilm B 1957 300 Gramm Ja Agfa Isolette Agfa Solinar 4,5/8,5 cm Compur Rapid B, 1-1/500 sec. 6 x 6 cm 4,5 - 22 120er Rollfilm C 1938 - 42 580 Gramm Nein Isolette (original Mod.= 6 x 6 + 4,5 x 6 Agfa Soldatenkamera) Agfa Anastigmat Jgestar 6,3 8,5 cm Vario B, T, 1/25-1/125 sec. cm 6,3 - 32 120er Rollfilm C 1938 - 42 500 Gramm Nein Agfa Isolette I Agfa Agnar 4,5/85 mm Vario B, 1/25 - 1/200 sec. 6 x 6 cm 4,5 - 32 120er Rollfilm C 1951 520 Gramm Nein Agfa Isolette V Agfa Agnar 4,5/85 mm Pronto B, 1/25 - 1/200 sec. 6 x 6 cm 4,5 - 32 120er Rollfilm B-C 1952 600 Gramm Ja Agfa Isoly Agfa Color Apotar 3,9/60 mm Pronto B, 1/30-1/250 sec. 4 x 4 cm 3,9 - 22 Rollfilm B 1960 - 67 320 Gramm Nein Agfa Isoly I Achromat 8/55 mm No Name B, 1/30 und 1/100 sec. 4 x 4 cm 8 - 11 120er Rollfilm B 1960 - 67 300 Gramm Ja Agfa Karat 12 Schneider Kreuznach Karat Xenar 2,8/50 mm Compur Rapid B, 1-1/500 sec. 24 x 36 mm 2,8 - 16 35er Kleinbildfilm B-C 1948 600 Gramm Nein Agfa Karat 3,5 Agfa Solinar 3,5/50 mm Compur Rapid B, 1 - 1/500 sec. 24 x 36 mm 3,5 - 32 35er Kleinbildfilm D 1938 450 Gramm Ja Agfa Karat 3,5 ohne Ösen Agfa Solinar 3,5/50 mm Compur B, 1 - 1/300 sec. 24 x 36 mm 3,5 - 22 35er Kleinbildfilm C 1938 500 Gramm Ja Agfa Karat 3,5 Version 3 Anastigmat Jgestar 6,3 x 5,5 cm NoName B, 1/25 - 1/100 sec. 24 x 36 mm 6,3 - 22 35er Kleinbildfilm C 1934 - 39 420 Gramm Ja Agfa Karat IV Agfa Solagon 2/50 mm Prontor SVS B, 1-1/300 sec. 24 x 36 mm 2 - 16 35er Kleinbildfilm B 1955 - 56 700 Gramm Ja LeBox Flash Einwegkamera Agfa grau NoName Zentral Auto, Blitz 24 x 36 mm fix 35er Kleinbild B 2005 90 Gramm Nein LeBox Flash Einwegkamera Agfa silber NoName Zentral Auto, Blitz 24 x 36 mm fix 35er Kleinbild B 2005 90 Gramm Nein 35er Kleinbildfilm Agfa Moto Rapid C Agfa Color Isomar 8/40 mm Parator ca. 1/30 sec. 24 x 24 mm 8 - 11 (Rapid) B 1965 300 Gramm Nein Optima 200 sensor (Version Agfa 1969) Agfa Color Apotar 2,8/42 mm Paratic Auto 24 x 36 mm 11 - 22 35er Kleinbildfilm B 1969 440 Gramm Ja Agfa Optima 500 S Agfa Color Solinar 2,8/45 mm Compur Auto 24 x 36 mm 2,8 - 22 35er Kleinbildfilm C 1963 720 Gramm Nein Agfa Optima 500 Sensor Agfa Color Apotar 2,8 / 42 mm Paratic Automatic 24 x 36 mm 2,8 - 22 35er Kleinbildfilm B 1969 440 Gramm Nein B, 1/30 - 1/250 sec., Agfa Optima I Agfa Color Agnar 2,8/45 mm Prontor Lux Automatik 24 x 36 mm 2,8 - 22 35er Kleinbildfilm B 1960 - 64 600 Gramm Ja Agfa Optima Ia Agfa Color Agnar 2,8/45 mm Zentral B, Automatik 24 x 36 mm 2,8 - 22 35er Kleinbildfilm B 1962 - 64 480 Gramm Nein Agfa Optima III Agfa Color Apotar 2,8/45 mm Compur B, Blitz, Auto 24 x 36 mm 2,8 - 22 35er Kleinbildfilm B 1960 730 Gramm Nein Agfa Optima Reflex Agfa Color Apotar 2,8/45 mm- 2x Zentral Auto, B, Blitz 24 x 36 mm 2,8 - 22 35er Kleinbild A-B 1962 - 66 860 Gramm Ja Agfa Optima Sensor 1535 Agfa Solitar S 2,8/40 mm Paratronic Auto (1/30-1/1000 sec.) 24 x 36 mm 2,8 - 22 35er Kleinbild B 1977 - 79 290 Gramm Nein Agfa Parat I Color Apotar 2,8/30 mm No Name B, 1/30-1/125 sec.
Load more

Recommended publications
  • 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.
    [Show full text]
  • Large Format Camera
    Large format Camera Movements and Operation Presented by N. David king 619-276-3225 © N. David King All rights Reserved Large Format Camera Movements and Operations Page 1 COURSE CURRICULA he Large format camera, in “View” and “Field” versions, are the T primary tool for many of the commercial/professional photographic disciplines. Especially for product, advertising, illustration, and high-end fashion and portraiture work, as well as for landscape and nature photography this workhorse camera is the tool selected whenever the ultimate in quality is required. This course will teach the rudiments of using this tool to control and enhance the image. Why Large Format Large format cameras shooting a negative in the 4”x 5” size and larger are cumbersome to carry and slow to set up. So why would a working photographer with deadlines to meet, bother? The answer is in the resulting image quality and image control. No other photographic tool, including digital post acquisition image manipulation, provides the degree of control and quality available in this format. Even where the image will be manipulated after acquisition by traditional airbrushing, darkroom techniques, or via digital editing, the old rule of thumb still applies: the better the original image, the better the results will be. Course Objectives After successfully completing this course. The student will be able to set up and operate a large format camera and use its optical and film plane movements to control the distortion and depth of field of their photographs. Course Elements The complete course will contain: 1. An instructor-led lecture and demonstration, 2.
    [Show full text]
  • 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.
    [Show full text]
  • Digital Cameras
    DIGITAL CAMERAS Hasselblad has raised the bar yet again concerning the capture As if that was not enough, this camera still claims all the advan- of super high-quality images. It builds on the achievements and tages of the H5D line – True Focus, Ultra Focus, Digital Lens success of multi-shot capture technology with the H5D-50MS and Correction plus being able to shoot regardless of lighting condi- the liberating characteristics of the H5D-50c – the worlds first tions as a result of the very high ISO settings that are capable of CMOS medium format camera. The H5D-200c MS MS takes still- unforeseen high quality with remarkably little noise. life studio photography to mind blowing moiré free 200Mpix reso- These top of the range features make the H5D-200c MS such lution. Six shot ‘microstep technology’ takes maximum advantage an outstanding camera choice – a studio workhorse to produce of everything the HC lenses have to offer, which is a very great unsurpassable quality in a controlled environment to doubling deal in itself, and combines it with the latest CMOS capabilities up as a top flight, hand held single-shot camera for shots on to produce a quality that is hard to believe is possible. the move. Versatility was always a Hasselblad cornerstone and From fine cars to miniature artworks and from delicate fabrics to remains so. diamonds – or quite simply where only the best reproduction is acceptable – the 200Mpix multi-shot image offers true color and This is the camera that leaves all the others behind. moiré free capture, providing an astonishing level of detail.
    [Show full text]
  • 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).
    [Show full text]
  • Calumet's Digital Guide to View Camera Movements
    Calumet’sCalumet’s DigitalDigital GuideGuide ToTo ViewView CameraCamera MovementsMovements Copyright 2002 by Calumet Photographic Duplication is prohibited under law Calumet Photographic Chicago IL. Copies may be obtained by contacting Richard Newman @ [email protected] What you can expect to find inside 9 Types of view cameras 9 Necessary accessories 9 An overview of view camera lens requirements 9 Basic view camera movements 9 The Scheimpflug Rule 9 View camera movements demonstrated 9 Creative options There are two Basic types of View Cameras • Standard “Rail” type view camera advantages: 9 Maximum flexibility for final image control 9 Largest selection of accessories • Field or press camera advantages: 9 Portability while maintaining final image control 9 Weight Useful and necessary Accessories 9 An off camera meter, either an ambient or spot meter. 9 A loupe to focus the image on the ground glass. 9 A cable release to activate the shutter on the lens. 9 Film holders for traditional 4x5 film holder image capture. 9 A Polaroid back for traditional test exposures, to check focus or final art. VIEW CAMERA LENSES ARE DIVIDED INTO THREE GROUPS, WIDE ANGLE, NORMAL AND TELEPHOTO WIDE ANGLES LENSES WOULD BE FROM 38MM-120MM FOCAL LENGTHS FROM 135-240 WOULD BE CONSIDERED NORMAL TELEPHOTOS COULD RANGE FROM 270MM-720MM FOR PRACTICAL PURPOSES THE FOCAL LENGTHS DISCUSSED ARE FOR 4X5” FORMAT Image circle- The black lines are the lens with no tilt and the red lines show the change in lens coverage with the lens tilted. If you look at the film plane, you can see that the tilted lens does not cover the film plane, the image circle of the lens is too small with a tilt applied to the camera.
    [Show full text]
  • 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 ............
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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 .
    [Show full text]
  • FOCUSING the VIEW CAMERA Iii
    )2&86,1* WKH 9,(:&$0(5$ $6FLHQWLILF:D\ WRIRFXV WKH9LHZ&DPHUD DQG (VWLPDWH'HSWKRI)LHOG J E\+DUROG00HUNOLQJHU )2&86,1* WKH 9,(:&$0(5$ $6FLHQWLILF:D\ WRIRFXV WKH9LHZ&DPHUD DQG (VWLPDWH'HSWKRI)LHOG E\ +DUROG00HUNOLQJHU 3XEOLVKHGE\WKHDXWKRU 7KLVYHUVLRQH[LVWVLQ HOHFWURQLF 3') IRUPDWRQO\ ii Published by the author: Harold M. Merklinger P. O. Box 494 Dartmouth, Nova Scotia Canada, B2Y 3Y8 v.1.0 1 March 1993 2nd Printing 29 March 1996 3rd Printing 27 August 1998 1st Internet Edition v. 1.6 29 Dec 2006 Corrected for iPad v. 1.6.1 30 July 2010 ISBN 0-9695025-2-4 © All rights reserved. No part of this book may be reproduced or translated without the express written permission of the author. ‘Printed’ in electronic format by the author, using Adobe Acrobat. Dedicated to view camera users everywhere. FOCUSING THE VIEW CAMERA iii &217(176 3DJH 3UHIDFH LY &+$37(5 ,QWURGXFWLRQ &+$37(5 *HWWLQJ6WDUWHG &+$37(5 'HILQLWLRQV 7KH/HQV 7KH)LOPDQGWKH,PDJH6SDFH 7KH3ODQHRI6KDUS)RFXVDQGWKH2EMHFW6SDFH 2WKHU7HUPVDQG'LVWDQFHV &+$37(5 9LHZ&DPHUD2SWLFDO3ULQFLSOHV 7LOWDQG6ZLQJ 'LVFXVVLRQ &+$37(5 3HUVSHFWLYHDQG'LVWRUWLRQ &+$37(5 'HSWKRI)LHOG ,PDJH%DVHG'HSWKRI)LHOG 2EMHFW%DVHG'HSWKRI)LHOG 'LVFXVVLRQ &+$37(5 $6LPSOHU0HWKRG &+$37(5 $Q([DPSOH &+$37(5 7XWRULDO &RQVLGHUDWLRQV $6ROXWLRQ $GGLWLRQDO&RPPHQWV 2WKHU:D\V &+$37(5 6XPPDU\ 0DLQ0HVVDJH 7DEOHRI+\SHUIRFDO'LVWDQFHV %LEOLRJUDSK\ &+$37(5 7DEOHV ,QGH[WR7DEOHV (IIHFWLYHIRFDOOHQJWK iv Merklinger: FOCUSING THE VIEW CAMERA &+$37(5 7DEOHV FRQWLQXHG +LQJHOLQHWLOW (IIHFWLYHWLOWIRUERWKVZLQJDQGWLOW /HQVWLOWDQJOHIRUJLYHQIRFDOOHQJWKfDQGGLVWDQFHJ
    [Show full text]
  • Night Photography with the View Camera
    Night Photography with the View Camera By Tom Paiva Night photography has low-orange of sodium va- been a passion of mine for por, the cyan of mercury some twenty years, for vapor, the green of fluores- more than the reason that cent, adds to the drama of I am a night person. The the modern industrial combination of man- landscape at night. Much made artificial lights, from of the “seeing” at night is neon and tungsten to so- the training of your eye to dium and mercury vapor, notice interesting high- adds surreal colors on film. lights, interactions, reflec- Their reflections and shad- tions off objects, light fil- ows add so much more to tering through windows, the image than during the etc.Most of us don’t really day, along with the inher- see these details. I’m al- ent mystery. I enjoy the ways looking for them, man-made environment even when not photo- and shoot in urban and in- graphing. dustrial areas. The advantages of the Having been involved in view camera working at many workshops on night night are the same as dur- photography, I have been ing the day; perspective asked many times about control, selective focusing how to use the view cam- and the large negative. And era at night, and the pros that large piece of film has and cons of this type of Rail Car at Chemical Plant; 10 minutes at f22, 150mm the tonality, depth and col- shooting. Like most, I lens, Fuji 64T film] or I get pleasure from.
    [Show full text]