(German) Description (German) Condition Low High Franke & Heidecke, Braunschweig
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Topaz Lens Effects Lens Topaz 3
User Manual Contents I. Installation 11. About 31 A. How to Install 3 B. Entering Your Key 3 IV. Settings & Parameters C. Host-Specific Installation 3 A. Effects & Presets 32 1. Paint Shop Pro 4 B. Bokeh - Center Focus 33 2. Photo Impact 5 C. Bokeh - SLR 36 Topaz Lens Effects Lens Topaz 3. Irfanview 6 D. Bokeh - Selective 39 D. Uninstalling 7 E. Camera - Pinhole 44 F. Camera - Tilt & Shift 46 II. Introduction G. Camera - Toy 50 A. About Topaz Lens Effects 8 H. Camera - Diffusion 54 1. Primary Functions 8 I. Filter - Dual Tone 55 B. Program Features 9 J. Filter - Fog 59 K. Filter - Graduated Color 6 III. New Features L. Filter - Graduated Neutral Density 61 A. Smart Brush 10 M. Filter - Polarization 62 B. Effects Menu 15 N. Filter - Reflector 63 C. Apply Button 16 O. Filter - Single Tone 64 D. Enhanced Sharpening 17 P. Filter - Streak 65 E. Split Screen View 18 Q. Filter - UV/Haze 65 F. Interface Style 19 R. Filter - Warmth 66 2 S. Lens - Creative Blur 67 IV. Work Area T. Lens - Dual Focus 68 A. Interface 20 U. Lens - Fisheye 70 B. Preview 24 V. Lens - Motion 71 C. Effects & Presets 26 W. Lens - Split Prism 72 1. Applying Presets 26 X. xF - Add Adjustment 73 2. Adding Presets 26 W. xF - Add Geometric Distortion 74 3. Deleting Presets 27 Z. xF - Add Grain 75 4. Importing Presets 28 AA. xF - Add Sharpening 75 5. Exporting Presets 28 AB. xF - Add Vignette 76 6. Sharing Presets 28 AC. xF - Add Vignette - Selective 76 D. -
Optical Machines, Pr
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. Bell & Howell Information and Learning 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA UMI800-521-0600 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. NOTE TO USERS Copyrighted materials in this document have not been filmed at the request of the author. They are available for consultation at the author’s university library. -
Elements of Screenology: Toward an Archaeology of the Screen 2006
Repositorium für die Medienwissenschaft Erkki Huhtamo Elements of screenology: Toward an Archaeology of the Screen 2006 https://doi.org/10.25969/mediarep/1958 Veröffentlichungsversion / published version Zeitschriftenartikel / journal article Empfohlene Zitierung / Suggested Citation: Huhtamo, Erkki: Elements of screenology: Toward an Archaeology of the Screen. In: Navigationen - Zeitschrift für Medien- und Kulturwissenschaften, Jg. 6 (2006), Nr. 2, S. 31–64. DOI: https://doi.org/10.25969/mediarep/1958. Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Deposit-Lizenz (Keine This document is made available under a Deposit License (No Weiterverbreitung - keine Bearbeitung) zur Verfügung gestellt. Redistribution - no modifications). We grant a non-exclusive, Gewährt wird ein nicht exklusives, nicht übertragbares, non-transferable, individual, and limited right for using this persönliches und beschränktes Recht auf Nutzung dieses document. This document is solely intended for your personal, Dokuments. Dieses Dokument ist ausschließlich für non-commercial use. All copies of this documents must retain den persönlichen, nicht-kommerziellen Gebrauch bestimmt. all copyright information and other information regarding legal Auf sämtlichen Kopien dieses Dokuments müssen alle protection. You are not allowed to alter this document in any Urheberrechtshinweise und sonstigen Hinweise auf gesetzlichen way, to copy it for public or commercial purposes, to exhibit the Schutz beibehalten werden. Sie dürfen dieses Dokument document in public, to perform, distribute, or otherwise use the nicht in irgendeiner Weise abändern, noch dürfen Sie document in public. dieses Dokument für öffentliche oder kommerzielle Zwecke By using this particular document, you accept the conditions of vervielfältigen, öffentlich ausstellen, aufführen, vertreiben oder use stated above. anderweitig nutzen. Mit der Verwendung dieses Dokuments erkennen Sie die Nutzungsbedingungen an. -
Completing a Photography Exhibit Data Tag
Completing a Photography Exhibit Data Tag Current Data Tags are available at: https://unl.box.com/s/1ttnemphrd4szykl5t9xm1ofiezi86js Camera Make & Model: Indicate the brand and model of the camera, such as Google Pixel 2, Nikon Coolpix B500, or Canon EOS Rebel T7. Focus Type: • Fixed Focus means the photographer is not able to adjust the focal point. These cameras tend to have a large depth of field. This might include basic disposable cameras. • Auto Focus means the camera automatically adjusts the optics in the lens to bring the subject into focus. The camera typically selects what to focus on. However, the photographer may also be able to select the focal point using a touch screen for example, but the camera will automatically adjust the lens. This might include digital cameras and mobile device cameras, such as phones and tablets. • Manual Focus allows the photographer to manually adjust and control the lens’ focus by hand, usually by turning the focus ring. Camera Type: Indicate whether the camera is digital or film. (The following Questions are for Unit 2 and 3 exhibitors only.) Did you manually adjust the aperture, shutter speed, or ISO? Indicate whether you adjusted these settings to capture the photo. Note: Regardless of whether or not you adjusted these settings manually, you must still identify the images specific F Stop, Shutter Sped, ISO, and Focal Length settings. “Auto” is not an acceptable answer. Digital cameras automatically record this information for each photo captured. This information, referred to as Metadata, is attached to the image file and goes with it when the image is downloaded to a computer for example. -
INSTRUCTION MANUAL Type C / N Design and Specifications Are Subject to Change Without Prior Notice
DIGITAL TTL MACRO FLASH Nissin Japan Ltd., Tokyo http://www.nissin-japan.com Nissin Marketing Ltd., Hong Kong INSTRUCTION MANUAL http://www.nissindigital.com Type C / N Design and Specifications are subject to change without prior notice. MF0611 REV. 1.1 Thank you for purchasing a Nissin product SIMPLE OPERATION When attaching MF18 to the camera, the basic flash exposure operation is fully Before using this flash unit, please read this instruction manual and refer controlled by the camera. It is the same idea as when you use the built-in your camera owner’s manual carefully to get a better understanding of camera flash, but it is placed on the hotshoe of the camera instead of using the proper operation to enjoy flash photography. built-in flash. Nissin Macro Flash MF18 is a flash system for taking close-up photos of small ADVANCED FUNCTIONS subjects using a flash to eliminate shadows, allowing you to enjoy photography. MF18 provides advanced flash functions including 1st curtain synchronization, This instruction manual is intended mainly for Canon or Nikon digital SLR, with Rear curtain synchronization and High speed shutter synchronization are the latest TTL flash control system, and features Nissin’s original rotating color supported. display, easily guiding its operations. It works automatically with Canon ETTL / ETTL II or Nikon i-TTL auto-flash systems. The provided adapter rings make it available for use with different lens. Please note that MF18 is not usable with other branded cameras for TTL Compatible cameras operation. Please refer Nissin’s compatibility chart shown in its home page for details. -
Panoramas Shoot with the Camera Positioned Vertically As This Will Give the Photo Merging Software More Wriggle-Room in Merging the Images
P a n o r a m a s What is a Panorama? A panoramic photo covers a larger field of view than a “normal” photograph. In general if the aspect ratio is 2 to 1 or greater then it’s classified as a panoramic photo. This sample is about 3 times wider than tall, an aspect ratio of 3 to 1. What is a Panorama? A panorama is not limited to horizontal shots only. Vertical images are also an option. How is a Panorama Made? Panoramic photos are created by taking a series of overlapping photos and merging them together using software. Why Not Just Crop a Photo? • Making a panorama by cropping deletes a lot of data from the image. • That’s not a problem if you are just going to view it in a small format or at a low resolution. • However, if you want to print the image in a large format the loss of data will limit the size and quality that can be made. Get a Really Wide Angle Lens? • A wide-angle lens still may not be wide enough to capture the whole scene in a single shot. Sometime you just can’t get back far enough. • Photos taken with a wide-angle lens can exhibit undesirable lens distortion. • Lens cost, an auto focus 14mm f/2.8 lens can set you back $1,800 plus. What Lens to Use? • A standard lens works very well for taking panoramic photos. • You get minimal lens distortion, resulting in more realistic panoramic photos. • Choose a lens or focal length on a zoom lens of between 35mm and 80mm. -
Depth-Aware Blending of Smoothed Images for Bokeh Effect Generation
1 Depth-aware Blending of Smoothed Images for Bokeh Effect Generation Saikat Duttaa,∗∗ aIndian Institute of Technology Madras, Chennai, PIN-600036, India ABSTRACT Bokeh effect is used in photography to capture images where the closer objects look sharp and every- thing else stays out-of-focus. Bokeh photos are generally captured using Single Lens Reflex cameras using shallow depth-of-field. Most of the modern smartphones can take bokeh images by leveraging dual rear cameras or a good auto-focus hardware. However, for smartphones with single-rear camera without a good auto-focus hardware, we have to rely on software to generate bokeh images. This kind of system is also useful to generate bokeh effect in already captured images. In this paper, an end-to-end deep learning framework is proposed to generate high-quality bokeh effect from images. The original image and different versions of smoothed images are blended to generate Bokeh effect with the help of a monocular depth estimation network. The proposed approach is compared against a saliency detection based baseline and a number of approaches proposed in AIM 2019 Challenge on Bokeh Effect Synthesis. Extensive experiments are shown in order to understand different parts of the proposed algorithm. The network is lightweight and can process an HD image in 0.03 seconds. This approach ranked second in AIM 2019 Bokeh effect challenge-Perceptual Track. 1. Introduction tant problem in Computer Vision and has gained attention re- cently. Most of the existing approaches(Shen et al., 2016; Wad- Depth-of-field effect or Bokeh effect is often used in photog- hwa et al., 2018; Xu et al., 2018) work on human portraits by raphy to generate aesthetic pictures. -
The Slide Projector As a Computer-Operated Visual Display*
SESSION III CONTRIBUTED PAPERS: PROCESS CONTROL (INTRODUCTORY) Robert S. Mcl.ean. Ontario Institute for Studies in Education, Presider The slide projector as a computer-operated visual display* PAUL B. BUCKLEY and CLIFFORD B. GILLMAN have had experience with slides and can generate University of Wisconsin, Madison, Wisconsin 53706 appropriate stimuli easily. Furthermore, changing or .supplementing the stimulus set requires no new Advantages and method are presented for using the programming and no additional memory storage. slide projector in a computer-operated visual display Interfacing an inexpensive tachistoscope to the system. computer may also meet the E's requirements for a visual display. However, the projector is more flexible in The presentation of visual stimuli is a common that one can display many stimuli without E procedure in psychological research (Aaronson & intervention. so that intertrial interval is precisely Brauth, 1972). For example, visual stimuli have been controlled. Furthermore, two projectors with employed in our laboratory for experiments in superimposed images, paired in the proper timing perception, learning, memory, choice reaction time, and se q uence, c an perfectly mimic a two-channel very short-term memory. Obviously, this is not an tachistoscope. The shutter on one projector is exhaustive list of potential uses. In the programmed to open as the shutter on the other computer-controlled laboratory, the cathode ray projector closes. Thirdly, whereas a tachistoscope may terminal (CRT) or oscilloscope (CRO) may be used to be used to test one S at a time, a pair of projectors meet this need (Sperling, 1971 ; Van Gelder, 1972; simulating a tachistoscope may present material to Wojnarowski, Bachman, & Pollack, 1971). -
DEPTH of FIELD CHEAT SHEET What Is Depth of Field? the Depth of Field (DOF) Is the Area of a Scene That Appears Sharp in the Image
Ms. Brown Photography One DEPTH OF FIELD CHEAT SHEET What is Depth of Field? The depth of field (DOF) is the area of a scene that appears sharp in the image. DOF refers to the zone of focus in a photograph or the distance between the closest and furthest parts of the picture that are reasonably sharp. Depth of field is determined by three main attributes: 1) The APERTURE (size of the opening) 2) The SHUTTER SPEED (time of the exposure) 3) DISTANCE from the subject being photographed 4) SHALLOW and GREAT Depth of Field Explained Shallow Depth of Field: In shallow depth of field, the main subject is emphasized by making all other elements out of focus. (Foreground or background is purposely blurry) Aperture: The larger the aperture, the shallower the depth of field. Distance: The closer you are to the subject matter, the shallower the depth of field. ***You cannot achieve shallow depth of field with excessive bright light. This means no bright sunlight pictures for shallow depth of field because you can’t open the aperture wide enough in bright light.*** SHALLOW DOF STEPS: 1. Set your camera to a small f/stop number such as f/2-f/5.6. 2. GET CLOSE to your subject (between 2-5 feet away). 3. Don’t put the subject too close to its background; the farther away the subject is from its background the better. 4. Set your camera for the correct exposure by adjusting only the shutter speed (aperture is already set). 5. Find the best composition, focus the lens of your camera and take your picture. -
Chapter 3 (Aberrations)
Chapter 3 Aberrations 3.1 Introduction In Chap. 2 we discussed the image-forming characteristics of optical systems, but we limited our consideration to an infinitesimal thread- like region about the optical axis called the paraxial region. In this chapter we will consider, in general terms, the behavior of lenses with finite apertures and fields of view. It has been pointed out that well- corrected optical systems behave nearly according to the rules of paraxial imagery given in Chap. 2. This is another way of stating that a lens without aberrations forms an image of the size and in the loca- tion given by the equations for the paraxial or first-order region. We shall measure the aberrations by the amount by which rays miss the paraxial image point. It can be seen that aberrations may be determined by calculating the location of the paraxial image of an object point and then tracing a large number of rays (by the exact trigonometrical ray-tracing equa- tions of Chap. 10) to determine the amounts by which the rays depart from the paraxial image point. Stated this baldly, the mathematical determination of the aberrations of a lens which covered any reason- able field at a real aperture would seem a formidable task, involving an almost infinite amount of labor. However, by classifying the various types of image faults and by understanding the behavior of each type, the work of determining the aberrations of a lens system can be sim- plified greatly, since only a few rays need be traced to evaluate each aberration; thus the problem assumes more manageable proportions. -
Advanced User Guide
Advanced User Guide E CT2-D068-A © CANON INC. 2020 Contents Introduction. 4 Instruction Manual. 5 About This Guide. 6 Safety Instructions. 8 Nomenclature. 10 Getting Started and Basic Operations. 26 Charging the Battery. 27 Insert the Battery. 31 Attaching and Detaching the Speedlite to and from the Camera. 33 Turning on the Power. 35 Fully Automatic Flash Photography. 40 E-TTL II / E-TTL Autoflash by Shooting Mode. 42 Checking the Battery Information. 47 Advanced Flash Photography. 49 Flash Exposure Compensation. 50 FEB. 52 FE Lock. 54 High-Speed Sync. 56 Second-Curtain Sync. 58 Bounce. 60 Set the Flash Coverage. 67 Manual Flash. 71 Stroboscopic Flash. 78 Flash External Metering. 82 Continuous Shooting Priority Mode. 87 About the Modeling Lamp. 88 Modeling Flash. 89 Color Filter. 90 Clearing Speedlite Settings. 92 Flash Function Settings with Camera Controls. 94 Flash Control from the Camera's Menu Screen. 95 Radio Transmission Wireless Flash Shooting. 102 Radio Transmission Wireless Flash Shooting. 103 Radio Transmission Wireless Settings. 110 Automatic Flash Photography with 1 Flash Receiver. 124 Automatic Flash Photography with Receivers divided into 2 Groups. 133 Automatic Flash Photography with Receivers divided into 3 Groups. 136 Wireless Multiple Flash Shooting with a set Flash Ratio. 141 Shooting in a Different Flash Mode for Each Group. 145 Test Flash / Modeling Flash from a Receiver Unit. 150 Remote Release from a Receiver Unit. 152 Linked Shooting with Radio Transmission. 154 Optical Transmission Wireless Flash Shooting. 159 Optical Transmission Wireless Flash Shooting. 160 Optical Transmission Wireless Settings. 164 Automatic Flash Photography with 1 Flash Receiver. -
Colour Relationships Using Traditional, Analogue and Digital Technology
Colour Relationships Using Traditional, Analogue and Digital Technology Peter Burke Skills Victoria (TAFE)/Italy (Veneto) ISS Institute Fellowship Fellowship funded by Skills Victoria, Department of Innovation, Industry and Regional Development, Victorian Government ISS Institute Inc MAY 2011 © ISS Institute T 03 9347 4583 Level 1 F 03 9348 1474 189 Faraday Street [email protected] Carlton Vic E AUSTRALIA 3053 W www.issinstitute.org.au Published by International Specialised Skills Institute, Melbourne Extract published on www.issinstitute.org.au © Copyright ISS Institute May 2011 This publication is copyright. No part may be reproduced by any process except in accordance with the provisions of the Copyright Act 1968. Whilst this report has been accepted by ISS Institute, ISS Institute cannot provide expert peer review of the report, and except as may be required by law no responsibility can be accepted by ISS Institute for the content of the report or any links therein, or omissions, typographical, print or photographic errors, or inaccuracies that may occur after publication or otherwise. ISS Institute do not accept responsibility for the consequences of any action taken or omitted to be taken by any person as a consequence of anything contained in, or omitted from, this report. Executive Summary This Fellowship study explored the use of analogue and digital technologies to create colour surfaces and sound experiences. The research focused on art and design activities that combine traditional analogue techniques (such as drawing or painting) with print and electronic media (from simple LED lighting to large-scale video projections on buildings). The Fellow’s rich and varied self-directed research was centred in Venice, Italy, with visits to France, Sweden, Scotland and the Netherlands to attend large public events such as the Biennale de Venezia and the Edinburgh Festival, and more intimate moments where one-on-one interviews were conducted with renown artists in their studios.