Terms Set #1 Bingo Myfreebingocards.Com

Total Page:16

File Type:pdf, Size:1020Kb

Terms Set #1 Bingo Myfreebingocards.Com Terms Set #1 Bingo myfreebingocards.com Safety First! Before you print all your bingo cards, please print a test page to check they come out the right size and color. Your bingo cards start on Page 3 of this PDF. If your bingo cards have words then please check the spelling carefully. If you need to make any changes go to mfbc.us/e/sv4rw Play Once you've checked they are printing correctly, print off your bingo cards and start playing! On the next page you will find the "Bingo Caller's Card" - this is used to call the bingo and keep track of which words have been called. Your bingo cards start on Page 3. Virtual Bingo Please do not try to split this PDF into individual bingo cards to send out to players. We have tools on our site to send out links to individual bingo cards. For help go to myfreebingocards.com/virtual-bingo. Help If you're having trouble printing your bingo cards or using the bingo card generator then please go to https://myfreebingocards.com/faq where you will find solutions to most common problems. Share Pin these bingo cards on Pinterest, share on Facebook, or post this link: mfbc.us/s/sv4rw Edit and Create To add more words or make changes to this set of bingo cards go to mfbc.us/e/sv4rw Go to myfreebingocards.com/bingo-card-generator to create a new set of bingo cards. Legal The terms of use for these printable bingo cards can be found at myfreebingocards.com/terms. Have Fun! If you have any feedback or suggestions, drop us an email on [email protected]. Bingo Caller's Card Use your Bingo Caller's Card to call the bingo and keep track of which words you have already called. Print two copies of the caller's card. Cut one copy up, fold the squares in half, and put them in a hat. To call the bingo, pull a square out of the hat, unfold it and read it out. When you have called a word/number, tick it off on the second copy of the caller's card. You can use the second copy of the caller's card to check if a player has a winning card during a game. Adjustable Automatic camera Agitation Aperture camera Background Backlighting Bracketing Burning Camera Candid Color Contact Composition Contrast in angles pictures balance Print Double Cropping Depth Developer Diaphragm Dodging Density of field exposure Exposure Exposure Exposure Emulsion Enlargement Enlarger Exposure latitude meter setting Fixed Film Fixing Flat Filter focus Flash lighting speed lens bath Flat f- number Bingo Card ID 001 Bingo Card ID 002 Terms Set #1 Terms Set #1 Fixed Exposure Backlighting Exposure Depth Fixing Diaphragm Aperture meter focus Dodging Contrast latitude lens of field bath Exposure Exposure Contact Density Color Diaphragm Camera Color Bracketing Print setting balance Filter angles balance setting Depth Double Cropping FREE Dodging Background Flat Developer FREE of field SPACE lighting SPACE Flat exposure Double Exposure Film Enlargement Bracketing Agitation Backlighting Enlarger exposure speed Filter meter Flash Exposure Camera Enlarger f- Exposure Automatic Candid Film Agitation Composition angles number latitude camera pictures speed Bingo Card ID 003 Bingo Card ID 004 Terms Set #1 Terms Set #1 Fixed Double Cropping Dodging Film Developer Enlargement Film Contact focus Flash exposure Print speed lens speed Exposure Exposure Exposure Candid Composition Contrast Background Agitation Filter pictures setting Flat setting latitude Exposure Exposure FREE Emulsion Backlighting Cropping Density FREE Fixing Enlarger meter latitude SPACE SPACE bath Enlargement Contrast Exposure Bracketing Aperture Flat Bracketing Exposure Developer Dodging Adjustable Automatic Agitation Diaphragm Depth Burning Flat Diaphragm f- of field in camera lighting Filter number camera Bingo Card ID 005 Bingo Card ID 006 Terms Set #1 Terms Set #1 Adjustable Contact Background Enlargement Flat f- Contact Aperture Film Fixing Print camera lighting number Print speed bath Fixed Exposure Automatic Bracketing f- Dodging Diaphragm Exposure Backlighting setting Filter number camera focus lens Camera Depth FREE Agitation Emulsion Bracketing Depth FREE Contrast angles of field SPACE of field SPACE Filter Aperture Exposure Composition Color Dodging Cropping Adjustable Developer Flash balance camera Flat Exposure Exposure Enlarger Backlighting Automatic Candid Cropping Composition camera pictures Density setting latitude Flash Bingo Card ID 007 Bingo Card ID 008 Terms Set #1 Terms Set #1 Fixed Automatic Double Enlarger Density Exposure Diaphragm Enlarger Camera Color camera exposure angles focus balance lens Adjustable Automatic Film f- Agitation Enlargement speed Filter number Flash Flat Flat camera camera Fixed Burning Dodging FREE Depth Fixing Exposure FREE Contact Exposure in SPACE focus setting SPACE Print latitude of field lens bath Exposure Backlighting Composition Cropping Developer Background f- Film Developer Dodging meter number speed Exposure Exposure Agitation Color Bracketing Contact Cropping Aperture Exposure Emulsion balance latitude Print meter Bingo Card ID 009 Bingo Card ID 010 Terms Set #1 Terms Set #1 Fixing Exposure Double Camera Flat f- Enlargement Flat Density Aperture angles bath lighting latitude number exposure lighting Fixed Candid Contrast Agitation Exposure Automatic Film Depth Exposure focus pictures setting camera latitude lens Flat speed of field Burning Exposure Double Background FREE Backlighting Composition Bracketing FREE Agitation exposure SPACE in SPACE setting Exposure Adjustable Contact Diaphragm Developer Cropping Contrast Exposure Diaphragm Print Flat meter camera Exposure Enlarger Bracketing Depth Dodging Candid Enlarger Contact Composition Flash meter of field pictures Print Bingo Card ID 011 Bingo Card ID 012 Terms Set #1 Terms Set #1 Fixed Aperture Emulsion Fixing Flat Depth Cropping Burning Candid Aperture focus lighting in pictures bath lens of field Exposure Diaphragm Agitation Backlighting Cropping Contrast Bracketing Color f- Flat setting balance number Fixed Film Camera FREE Dodging Contrast Composition FREE Backlighting Emulsion angles SPACE focus SPACE speed lens Burning Contact Density Composition Agitation Dodging Exposure Enlarger Fixing Print in Filter bath Enlarger Exposure Depth Developer Double Film Contact Flat of field exposure Flash speed Flat Print lighting Bingo Card ID 013 Bingo Card ID 014 Terms Set #1 Terms Set #1 Dodging Background Camera Candid Exposure Candid Exposure Background Film Composition angles pictures pictures speed Fixed Contrast f- Automatic Backlighting Fixing Dodging Contrast Automatic Flat number camera focus camera lighting lens bath Exposure Enlarger FREE Cropping Fixing Developer Color FREE Cropping latitude SPACE bath balance SPACE Flat Exposure Double Diaphragm Depth Bracketing Burning Bracketing Emulsion Adjustable Contact exposure of field in meter camera Print Adjustable Depth Density Agitation Enlargement Density Agitation Enlargement Backlighting Flash camera of field Bingo Card ID 015 Bingo Card ID 016 Terms Set #1 Terms Set #1 Burning Camera Contact Depth Agitation Cropping Composition Enlarger Bracketing in Flat angles Print of field Exposure Developer Aperture Enlargement Contrast Backlighting Emulsion Flat Enlargement Dodging latitude lighting Agitation Film FREE Cropping Film FREE Exposure Exposure speed SPACE Flash Filter speed SPACE meter Exposure Adjustable Background Double Diaphragm Developer exposure setting Dodging Contrast Flash Density camera Fixed Color Exposure Bracketing Contact Diaphragm Depth Candid f- focus balance Filter Print pictures number lens of field Bingo Card ID 017 Bingo Card ID 018 Terms Set #1 Terms Set #1 Adjustable Flat Cropping Contact Exposure Aperture Composition f- Background lighting Flash Print camera number Fixed Fixing Fixing Background Backlighting Enlarger focus Contrast Dodging Cropping Diaphragm lens bath bath Burning Aperture FREE Double Camera Density Developer FREE Contact in SPACE exposure angles SPACE Print Flat Adjustable Double Candid Film Contrast Color Enlargement Color Camera pictures camera speed balance balance Flash exposure angles Fixed Exposure Exposure Exposure Exposure Depth Composition Automatic Candid Bracketing camera latitude meter pictures latitude meter focus of field lens Bingo Card ID 019 Bingo Card ID 020 Terms Set #1 Terms Set #1 Exposure Automatic Double Bracketing Color Exposure Bracketing Contrast Cropping latitude balance camera exposure Filter Candid Camera Adjustable Depth Burning Exposure Composition Background Film Density pictures angles speed camera of field in setting Fixing FREE Density Contrast Exposure Contact FREE Aperture Flash bath SPACE Print SPACE Flat Fixed Exposure Exposure Flat Developer Enlarger Diaphragm Emulsion f- Camera lighting meter focus meter number angles lens Depth Double Burning Backlighting Agitation Composition Color Dodging Fixing Enlargement of field exposure in balance bath Bingo Card ID 021 Bingo Card ID 022 Terms Set #1 Terms Set #1 Double Burning f- Adjustable Film Density Cropping Composition Background speed exposure in number Flash camera Candid Depth Developer Diaphragm Enlargement Contact Contact Density Aperture Flash Print pictures Print of field Exposure Exposure Background FREE Agitation Camera Enlarger FREE Dodging Agitation meter SPACE latitude angles SPACE Exposure Exposure Flat Backlighting Automatic Candid Emulsion Diaphragm Color lighting Flat camera pictures latitude balance setting Enlarger Exposure Exposure Fixing f- Contrast Automatic Film Double setting bath number camera Filter speed exposure Bingo Card ID 023 Bingo Card ID 024 Terms
Recommended publications
  • DMC-TZ7 Digital Camera Optics
    DMC-TZ7 Digital Camera LUMIX Super Zoom Digital Camera 12x Optical Zoom 25mm Ultra Wide-angle LEICA DC Lens HD Movie Recording in AVCHD Lite with Dolby Stereo Digital Creator Advanced iA (Intelligent Auto) Mode with Face Recognition and Movie iA Mode Large 3.0-inch, 460,000-dot High-resolution Intelligent LCD with Wide-viewing Angle Venus Engine HD with HDMI Compatibility and VIERA Link Super Zoom Camera TZ7 - 12x Optical Zoom 25mm Wide-angle LEICA DC Lens with HD Movie Re- cording in AVCHD Lite and iA (Intelligent Auto) Mode Optics Camera Effective Pixels 10.1 Megapixels Sensor Size / Total Pixels / Filter 1/2.33-inch / 12.7 Total Megapixels / Primary Colour Filter Aperture F3.3 - 4.9 / Iris Diaphragm (F3.3 - 6.3 (W) / F4.9 - 6.3 (T)) Optical Zoom 12x Award 2009-03-26T11:07:00 Focal Length f=4.1-49.2mm (25-300mm in 35mm equiv.) DMC-TZ7, Photography- Extra Optical Zoom (EZ) 14.3x (4:3 / 7M), 17.1x (4:3 / 5M), 21.4x (under 3M) Blog (Online), Essential Award, March 2009 Lens LEICA DC VARIO-ELMAR 10 elements in 8 groups (2 Aspherical Lenses / 3 Aspherical surfaces, 2 ED lens) 2-Speed Zoom Yes Optical Image Stabilizer MEGA O.I.S. (Auto / Mode1 / Mode2) Digital Zoom 4x ( Max. 48.0 x combined with Optical Zoom without Extra Optical Zoom ) Award (Max.85.5x combined with Extra Optical Zoom) 2009-03-26T11:10:00 Focusing Area Normal: Wide 50cm/ Tele 200cm - infinity DMC-TZ7, CameraLabs Macro / Intelligent AUTO / Clipboard : Wide 3cm / Max 200cm / Tele (Online), Highly Recom- 100cm - infinity mended Award, March 2009 Focus Range Display Yes AF Assist Lamp Yes Focus Normal / Macro, Continuous AF (On / Off), AF Tracking (On / Off), Quick AF (On / Off) AF Metering Face / AF Tracking / Multi (11pt) / 1pt HS / 1pt / Spot Shutter Speed 8-1/2000 sec (Selectable minimum shutter speed) Starry Sky Mode : 15, 30, 60sec.
    [Show full text]
  • How Your Digital Camera Works
    How Your Digital Camera Works By Todd Vorenkamp | Have you ever wondered what is going on inside that picture-taking box that you just held up to your eye, or out at arm’s length, to capture a photograph? The Basics The camera is, in its most simplified terms, a box that allows light to enter and strike a light- sensitive surface. This surface is either a frame of film or a digital sensor. Cameras can accomplish this task in the most simple way—a pinhole camera, for instance. Pinhole cameras may have only one moving part, or none. Or, the camera can have dozens of moving parts like the modern film or digital single-lens reflex (SLR or DSLR) camera. In this piece, we will discuss the modern cameras popular with today’s photographers. We are going to talk about cameras in general terms, so please know that I am aware of dozens of different ways in which different cameras make images. For simplicity’s sake, we will keep it simple! A Common Path Modern cameras, more or less, work similarly to produce a photograph. Obviously, some are more complex than others, but, in general, light travels a similar path once it meets the camera lens. • Aperture • Shutter • Image Plane How the image is viewed on the camera, through an optical or electronic viewfinder or electronic screen is one thing that differentiates different types of cameras. The Lens Light first enters a lens. This is an optical device made from plastic, glass, or crystal that bends the light entering the lens toward the image plane.
    [Show full text]
  • Three Techniques for Rendering Generalized Depth of Field Effects
    Three Techniques for Rendering Generalized Depth of Field Effects Todd J. Kosloff∗ Computer Science Division, University of California, Berkeley, CA 94720 Brian A. Barskyy Computer Science Division and School of Optometry, University of California, Berkeley, CA 94720 Abstract Post-process methods are fast, sometimes to the point Depth of field refers to the swath that is imaged in sufficient of real-time [13, 17, 9], but generally do not share the focus through an optics system, such as a camera lens. same image quality as distributed ray tracing. Control over depth of field is an important artistic tool that can be used to emphasize the subject of a photograph. In a A full literature review of depth of field methods real camera, the control over depth of field is limited by the is beyond the scope of this paper, but the interested laws of physics and by physical constraints. Depth of field reader should consult the following surveys: [1, 2, 5]. has been rendered in computer graphics, but usually with the same limited control as found in real camera lenses. In Kosara [8] introduced the notion of semantic depth this paper, we generalize depth of field in computer graphics of field, a somewhat similar notion to generalized depth by allowing the user to specify the distribution of blur of field. Semantic depth of field is non-photorealistic throughout a scene in a more flexible manner. Generalized depth of field provides a novel tool to emphasize an area of depth of field used for visualization purposes. Semantic interest within a 3D scene, to select objects from a crowd, depth of field operates at a per-object granularity, and to render a busy, complex picture more understandable allowing each object to have a different amount of blur.
    [Show full text]
  • American Hand Book of the Daguerreotype
    AMERICAN HANDBOOK OF THE DAGUERREOTYPE Project Gutenberg Etext #167: September, 1994 Giving The Most Approved And Convenient Methods For Preparing The Chemicals, And The Combinations Used In The Art. Containing The Daguerreotype, Electrotype, And Various Other Processes Employed In Taking Heliographic Impressions. By S. D. HUMPHREY Fifth Edition, 1858 New York: Published By S. D. Humphrey 37 Lispenard Street Entered, according to Act of Congress, in the year 1858, by S. D. HUMPHREY, In the Clerk's Office of the District Court of the Southern District of New York. To J. Gurney, whose professional skill, scientific accuracy, and energetic perseverance, have won for him universal esteem, this work is most respectfully inscribed. Preface There is not an Amateur or practical Daguerreotypist, who has not felt the want of a manual--Hand Book, giving concise and reliable information for the processes, and preparations of the Agents employed in his practice. Since portraits by the Daguerreotype are at this time believed to be more durable than any other style of "Sun-drawing," the author has hit upon the present as being an appropriate time for the introduction of the Fifth Edition of this work. The earlier edition having a long since been wholly; exhausted, the one now before you is presented. The endeavor has been to point out the readiest and most approved Methods of Operation, and condense in its pages; as much practical information as its limits will admit. An extended Preface is unnecessary, since the aim and scope of this work are sufficiently indicated by the title. S. D. HUMPHREY NEW YORK, 1858.
    [Show full text]
  • Photographic Printing Enlarger
    Photographic printing From Wikipedia, the free encyclopedia Photographic printing is the process of producing a final image on paper for viewing, using chemically sensitized paper. The paper is exposed to a photographic negative, a positive transparency (or slide), or a digital image file projected using an enlarger or digital exposure unit such as a LightJet printer. Alternatively, the negative or transparency may be placed atop the paper and directly exposed, creating a contact print. Photographs are more commonly printed on plain paper, for example by a color printer, but this is not considered "photographic printing". Following exposure, the paper is processed to reveal and make permanent the latent image. Printing on black-and-white paper The process consists of four major steps, performed in a photographic darkroom or within an automated photo printing machine. These steps are: Exposure of the image onto the sensitized paper using a contact printer or enlarger; Processing of the latent image using the following chemical process: o Development of the exposed image reduces the silver halide in the latent image to metallic silver; o Stopping development by neutralising, diluting or removing the developing chemicals; o Fixing the image by dissolving undeveloped silver halide from the light-sensitive emulsion: o Washing thoroughly to remove processing chemicals protects the finished print from fading and deterioration. Optionally, after fixing, the print is treated with a hypo clearing agent to ensure complete removal of the fixer, which would otherwise compromise the long term stability of the image. Prints can be chemically toned or hand coloured after processing.[ Enlarger From Wikipedia, the free encyclopedia An enlarger is a specialized transparency projector used to produce photographic prints from film or glass negatives using the gelatin silver process, or from transparencies.
    [Show full text]
  • The Techniques and Material Aesthetics of the Daguerreotype
    The Techniques and Material Aesthetics of the Daguerreotype Michael A. Robinson Submitted for the degree of Doctor of Philosophy Photographic History Photographic History Research Centre De Montfort University Leicester Supervisors: Dr. Kelley Wilder and Stephen Brown March 2017 Robinson: The Techniques and Material Aesthetics of the Daguerreotype For Grania Grace ii Robinson: The Techniques and Material Aesthetics of the Daguerreotype Abstract This thesis explains why daguerreotypes look the way they do. It does this by retracing the pathway of discovery and innovation described in historical accounts, and combining this historical research with artisanal, tacit, and causal knowledge gained from synthesizing new daguerreotypes in the laboratory. Admired for its astonishing clarity and holographic tones, each daguerreotype contains a unique material story about the process of its creation. Clues from the historical record that report improvements in the art are tested in practice to explicitly understand the cause for effects described in texts and observed in historic images. This approach raises awareness of the materiality of the daguerreotype as an image, and the materiality of the daguerreotype as a process. The structure of this thesis is determined by the techniques and materials of the daguerreotype in the order of practice related to improvements in speed, tone and spectral sensitivity, which were the prime motivation for advancements. Chapters are devoted to the silver plate, iodine sensitizing, halogen acceleration, and optics and their contribution toward image quality is revealed. The evolution of the lens is explained using some of the oldest cameras extant. Daguerre’s discovery of the latent image is presented as the result of tacit experience rather than fortunate accident.
    [Show full text]
  • Seminar Series About Optics and Microscopy
    Fundamentals in optics and microscopy NIF Optical Seminar Jan 16th 2019 - Aurelien Breakdown Detections Illuminations Magic NIF Optical Seminar Jan 16th 2019 - Aurelien Illumination: What is light ? Wave Particle NIF Optical Seminar Jan 16th 2019 - Aurelien Light as a wave: properties Intensity I α A2 Wavelength (λ) Frequency ν=λ/c Amplitude (A) z direction of propagation Phase (φ) π/2 z0 t1203 π 0 z 3π/2 NIF Optical Seminar Jan 16th 2019 - Aurelien Light as a wave: properties LINEAR POLARIZATION CIRCULAR POLARIZATION ELLIPTICAL POLARIZATION Polarization becomes crucial for techniques such as DIC or if you use lasers as an illumination source. NIF Optical Seminar Jan 16th 2019 - Aurelien Light as a particle: why ? "It seems as though we must use sometimes the one theory and sometimes the other, while at times we may use either. (…) We have two contradictory pictures of reality; separately neither of them fully explains the phenomena of light, but together they do" PHOTOELECTRIC EFFECT Frequency threshold : below this threshold, no electrons are emitted, even if intensity is increased e e e BUT METAL Light propagates as discrete packets of energy called PHOTONS: Wave theory of light: increasing either the frequency or the intensity of light would increase electron Energy = hν h: Plank’s constant emission rate NIF Optical Seminar Jan 16th 2019 - Aurelien Light interactions Law of reflection: θ1 θ1' θ = θ ’ Reflection 1 1 n1 n2 θ2 n1 < n2 Law of refraction (Snell’s law): n1 sinθ1 = n2 sinθ2 Multicolor Refraction (n is dependent on n1 = c/v1, n2=c/v2 λ) is called dispersion Refraction NIF Optical Seminar Jan 16th 2019 - Aurelien Diffraction π/2 π 0 3π/2 constructive interference 0-2π destructive interference π intermediate interference π/2 Superposition of light waves generates interference patterns.
    [Show full text]
  • Olympus OM-10
    To an OM-10 Owner We appreciate very much that you have acquired other accessories are added to make it a complete an OM-10, a camera designed to allow you to take system of photography. With the OM-10 you can good pictures automatically and with the greatest gradually widen your enjoyment of the photo- ease. graphic art. The Olympus OM-10 is a single lens reflex camera We sincerely wish that it will become for you a of the finest quality in which the automation of source of unending satisfaction. To this effect, photographic functions has been made possible please read this instruction manual carefully be- by employing the most advanced electronics. To fore using the camera, so that you may be sure its acceptability of Olympus interchangeable lens- of taking correct, beautiful pictures every time es, a special film winder, a flash, and a host of you use your OM-10. 1 TABLE OF CONTENTS Description of Controls ... 3 matically ......... 19 Long Exposures ...... 30 Preparations before The OM-10: Designed to Save Flash Photography . 31 Taking Pictures . 6 to 15 Battery Consumption . 22 Using the Winder 2 ..... 33 Mounting and Detaching Switching the Camera Off . 23 From General Photography the Lens .......... 7 Rewinding the Film .... 23 to the Use of Interchange- Inserting the Batteries . 9 Unloading the Film . 24 able Lenses ........ 35 Checking the Batteries ... 10 The Use of the Self-Timer . 25 Making Use of the Depth of Loading the Film ...... 11 Photographic Techniques Field ............ 37 Setting the ASA Film Speed . 15 ............. 26 to 42 Manual Exposure Control .
    [Show full text]
  • Efficient Monte Carlo Rendering with Realistic Lenses
    EUROGRAPHICS 2014 / B. Lévy and J. Kautz Volume 33 (2014), Number 2 (Guest Editors) Efficient Monte Carlo Rendering with Realistic Lenses Johannes Hanika and Carsten Dachsbacher, Karlsruhe Institute of Technology, Germany ray traced 1891 spp ray traced 1152 spp Taylor 2427 spp our fit 2307 spp reference aperture sampling our fit difference Figure 1: Equal time comparison (40min, 640×960 resolution): rendering with a virtual lens (Canon 70-200mm f/2.8L at f/2.8) using spectral path tracing with next event estimation and Metropolis light transport (Kelemen mutations [KSKAC02]). Our method enables efficient importance sampling and the degree 4 fit faithfully reproduces the subtle chromatic aberrations (only a slight overall shift is introduced) while being faster to evaluate than ray tracing, naively or using aperture sampling, through the lens system. Abstract In this paper we present a novel approach to simulate image formation for a wide range of real world lenses in the Monte Carlo ray tracing framework. Our approach sidesteps the overhead of tracing rays through a system of lenses and requires no tabulation. To this end we first improve the precision of polynomial optics to closely match ground-truth ray tracing. Second, we show how the Jacobian of the optical system enables efficient importance sampling, which is crucial for difficult paths such as sampling the aperture which is hidden behind lenses on both sides. Our results show that this yields converged images significantly faster than previous methods and accurately renders complex lens systems with negligible overhead compared to simple models, e.g. the thin lens model.
    [Show full text]
  • Advanced Microscopy Training
    Microscopy Training & Overview Product Marketing October 2011 Stephan Briggs - PLE OVERVIEW AND PRESENTATION FLOW • Glossary and Important Terms • Introduction – Timeline – Innovation and Advancement – Primary Components • Edmund Optics Product Offering • Illumination Techniques • Microscopy Techniques – Brightfield – Darkfield – Phase Contrast • Microscope Objectives – Finite Conjugate – Infinity Corrected 2 PROPRIETARY - Property of Edmund Optics, Inc. | 2011 Copyright© Edmund Optics, Inc. GLOSSARY AND IMPORTANT TERMS 3 • Numerical Aperture (NA) Function of the focal length and entrance pupil diameter. NA determines resolving power, depth of field, and contrast of the image. The higher the NA, the greater the resolving power and smaller the depth of field. NA can be calculated using Equation 1. NA = n*Sinθ Equation 1 Where n is the index of refraction of the medium in which the lens is working (n=1.0 for air) and θ is the half-angle of the maximum cone of light that can enter or exit the lens. • Resolving Power (R) Minimum distance between points or lines that are just distinguishable as separate entities. The resolving power of a system is determined by N.A. and wavelength of light (λ), as shown in Equation 2. R = 0.61*λ /N.A. Equation 2 • Working Distance (WD) Distance between the surface of the specimen and the front face of the objective when in focus PROPRIETARY - Property of Edmund Optics, Inc. | 2011 Copyright© Edmund Optics, Inc. GLOSSARY AND IMPORTANT TERMS 4 • Parfocal Length Distance between the surface of the specimen and the objective mounting position when in focus. • Infinity Corrected Optical System An optical system in which the image is formed by an objective and a tube lens with an Infinity Space between them, into which optical accessories can be inserted.
    [Show full text]
  • Key Concepts in Optical Imaging Part II: Transmitted Light Techniques
    Key Concepts in Optical Imaging Part II: Transmitted Light Techniques Aaron Taylor, PhD Managing Director BRCF Microscopy Core [email protected] Evolution of the microscope Lenses are old – 1600s A single lens is really just a ‘magnifying glass’, but high magnifications are possible (300x). Sample Stage Lens Optical theory understood by 1860s Used multiple lenses for high resolution and a separate lens to provide illumination. Ernst Abbe Sample Eye ‘Condenser’ ‘Microscope’ ‘Modern’ light microscope by 1890s Multiple lens scheme to provide uniform illumination when using non-uniform light sources (e.g. electric filament bulbs) August Kohler Sample Eye ‘Condenser’ ‘Microscope’ Same optical principles used to build electron microscope by 1930s Ernst Ruska Microscopy 2018: So what’s new? Advanced Lasers Advanced New dyes optoelectronics Microscope and probes How a transmitted light microscope works Bright-Field Microscopy Bright-field microscopy is the most basic form of transmitted-light microscopy. It relies on absorbance of light and so the sample can be conceptualized as a collection of small apertures that diffract ~much of the incident light. All other kinds of microscopy are variations on this basic design! Bulb filament Diffracting Interm. Lamp ‘Sub-stage’ Objective Tube Condenser Condenser Sample Lenses Lens Image Lens Lens Illuminating Optics Imaging Optics Light direction The illuminating optics provide uniform illumination The sample is placed in the condensers BFP, where the light is most concentrated and defocused. Diaphragms
    [Show full text]
  • UNIVERSITY of CALIFORNIA, SAN DIEGO a Physically-Based
    UNIVERSITY OF CALIFORNIA, SAN DIEGO A Physically-Based Approach for Lens Flare Simulation A thesis submitted in partial satisfaction of the requirements for the degree Master of Science in Computer Science by Arash Keshmirian Committee in charge: Professor Henrik Wann Jensen, Chair Professor David Kriegman Professor Matthias Zwicker 2008 Copyright Arash Keshmirian, 2008 All rights reserved. The thesis of Arash Keshmirian is approved and it is acceptable in quality and form for publica- tion on microfilm: Chair University of California, San Diego 2008 iii DEDICATION I wish to thank my parents Homa and Mansour. They bore me, brought me up, supported me, taught me, made innumerable sacrifices for me, inspired me, and loved me. To them I dedicate this thesis. iv EPIGRAPH A technically perfect photograph can be the world’s most boring picture. —Andreas Feininger Andreas Bernhard Lyonel Feininger (27 December 1906 - 18 February 1999) was a French-born American photographer, and writer on photographic technique, noted for his dynamic black-and-white scenes of Manhattan and studies of the structure of natural objects. v TABLE OF CONTENTS Signature Page........................................... iii Dedication.............................................. iv Epigraph...............................................v Table of Contents......................................... vi List of Figures........................................... viii Acknowledgements....................................... ix Abstract of the Thesis......................................x
    [Show full text]