DOCSLIB.ORG

The Secret Ingredient to Many a Dynamite Photo

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Secret Ingredient to Many a Dynamite Photo BG (0 u h PHOTO 0 h 0 I FILTERS o. The secret modular filter holder might be the solu- signed for a specific lens, quite often tion. This filter holder has lens threads your selection will be limited. ingredient on one side and a rectangular filter slot on the opposite side. The advantage to BASIC FILTERS to many a this system is that you can buy several holders to accommodate your lens di- Every filter manufacturer has a dif- dynamite photo ameters, then use the same filters for ferent way of grouping filters, which by Jack and Sue Drafahl each. You can quickly change filters by makes your filter selection even more sliding one out and the next one in. difficult. We think that filters should be Many holders have two slots, making it grouped as basic filters, advanced filters, hen we first started in pho- easy to use a combination of filters. The and special-effects filters. The basic tography, a photographer modular-system filters are square or rec- group includes filters that most photog- W could fit almost every type tangular in shape, and are made of plas- raphers would have in their camera bags, of photographic filter in a small camera tic, glass and acetate gel. regardless of whether they were just be- bag. Today that is almost impossible, as Special lenses such as fisheye and su- ginning or well advanced. The basic fil- there are hundreds of filters on the mar- per telephotos may require the third type ters include a polarizer, UV filter, and a ket, with new ones constantly being in- of filter. These lenses have a small filter series of light-balancing filters. troduced. Photographers can no longer drawer in the middle or rear of the lens. The polarizer is one of the most just go out and buy one Since these filters are de- popular filters since it performs a of each and have variety of functions. It can re- things covered. Instead duce reflections from glass they must analyze and water, make the sky their shooting style much darker, or increase and buy specific fil- the color saturation ters to fit their photo- of an image. graphic needs. The older linear polariz- FILTER TYPES ers were fine until the newer Before you decide what cameras with filters to buy, you first need built-in TTL metering to decide on how you want to and/or autofocusing sys- attach the filters to your cam- tems which partially polarize light. With era. There are three basic filter Three types of filters: The such cameras, you must use a circular systems for your camera. Screw-in plastic system filter (such as the polarizer, which is more expensive than filters are most common, and are de- Cokin shown at left), which is attached the linear polarizer. lenses of various diameters via a filter signed to screw into the finely machined holder and adapter ring; the screw-in fil- The polarizer comes in a rotating threads on the front of your camera lens. ter (front left), which screws into the mount. While viewing through the cam- You will need to buy a different-diame- lens's front threads; and the gelatin fil- era lens, rotate the filter until you see ter version of each filter you use if you ter (right), which have different diameter lenses. You can is attached to the buy step-up and step-down adapters to lens via a holder keep filter duplication to a minimum. To and adapter ring. avoid image cutoff, use the step-up adapters (which allow you to use a larg- A polarizing filter er-diameter filter on a smaller-diameter can darken a lens). Image cutoff can possibly occur blue sky so that with the step-down adapter (which at- white clouds will taches a smaller-diameter filter to a larg- really stand out. er-diameter lens), so make sure you use In black-and- the depth-of-field preview at the small- white photogra- est f-stop to check for cutoff. You may phy, you can use still need to purchase several different a red filter to darken the sky, filter sizes if you own large-diameter su- too; but obvious- perwide-angle or long telephoto lenses. ly the red filter If you plan on using several different won't suffice for filters on a variety of lenses, then the color work. 114 1998 PHorographic Buyer's Guide BG the desired effect. Reflections are quite color correction. Many of the larger for- lights, these filters may not provide per- •0 unpredictable, so trial and error is the mat films will have a suggested CC cor- fect color rendition. Testing ahead of I name of the game. You can obtain the rection for each box of film. This time is important if you want to get a 0 darkest skies with the polarizer when ensures that a product will have the same critical color balance. If the tests show H you point your camera at a 90° angle to color balance when photographed with you are close, you can finish the correc- 0 the sun. one box of film to the next. tion with one of the color-compensating In the past a UV filter came standard Photographers who find themselves (CC) filters. If you don't have an FL fil- when you bought a new lens. With im- shooting under fluorescent light will ter, a CC30 magenta filter can get you in H provement in lens glass, and as the spec- need the assistance of a special fluores- the ballpark. m 71 tral response of film keeps improving, cent filter. The two basic types are the Neutral-density filters reduce the V) this filter's job has changed to just pro- FL-D for use with daylight film and the amount of light coming through the lens tecting the front lens element. If you do FL-B for use with tungsten film. Since and onto the film. When you use this fil- a lot of outside work that is near mud or there are over 60 types of fluorescent ter, there is no visible color shift, and water, then this filter may save you the overall image quality is not degrad- some grief. ed. Neutral-density filters allow you to If you have ever seen pictures taken capture blurred action and use slow shut- indoors without a flash they probably ter speeds in full daylight. Exposure cor- turned out quite yellow. Right? Well that "If you plan rection is calculated at one stop for each is because the photographer didn't use .30 rating of the filter. (.90 = 3 stops). A the correct film to match the light on using polarizing filter can also be substituted source. Conversion filters are designed as a neutral-density filter. to help you balance the light source to several Contrast-control filters are seldom the film you are using. The 80 series of used in still photography (professional conversion filters will correct tungsten different movie cameramen like them) and may to daylight so your pictures will not have never see the inside of your camera bag. that yellowish cast. If you need to shoot filters on The low-contrast filter works by catch- tungsten-balanced film in daylight, the ing light from the highlight and adding 85 series of conversion filters corrects a variety it to he shadow areas. One variation of the color balance. this filter is called a soft-contrast filter, If you want to warm the color tem- which causes a slight amount of flaring perature, then the 81 series of filters of lenses, or halation around the highlights. would be your choice. Each filter has a letter behind it and increases in warmth then the SPECIAL-EFFECTS FILTERS as the letters go up. You don't have to get the whole series, as each filter is on- modular It seems that today's movie ratings are ly slightly different than the next. We based on the caliber of the special ef- recommend the 81A and the 81C for filter holder fects. This explosion of special effects starters. If you take pictures using day- has found its way into the world of still light film in deep shade with blue skies might be photography, too. Special-effects filters above, then you may want to go to the are constantly being improved, and new 81Dor81EF. the solution" effects seem to come out every month. Black-and-white photographers would have a different assortment of ba- sic filters. The polarizer would still be of great help, but a whole different set of color filters are used to increase the overall contrast in the scene. The red No. 25 filter gives very dark skies, the green No. 58 improves the density of flesh tones and lightens foliage, and yel- low filters give strong cloud contrast in landscape photography. ADVANCED FILTERS As a photographers improve and ad- vance to the status of serious amateur or pro, they will undoubtedly add more so- phisticated filters to help fine-tune their results. When an exact color balance is required in a scene, the smart photogra- pher reaches for a series of color-com- pensating (CC) filters. These come in the additive primary colors (red, green, blue) and the subtractive primaries (cyan, ma- genta, and yellow), with values of 05, 10, 20, 30, 40, and 50. They filters come A graduated filter can be used to bring out detail in a sky that is too bright to record in both glass and gel form and allow fine with detail when you expose for the dark foreground.
Load more

Recommended publications
  • F I L T E R K
    FILTERKIT 322 Woodwork Lane Palatine IL 60067 P: 847-359-3550 F: 847-359-3567 v2.1 [email protected] June16, 2009 www.midopt.com ABOUT MIDWEST OPTICAL SYSTEMS FK100 FILTER KIT CONTENTS ARTICLES Founded in 1988 as a manufacturer of custom precision Our continued commitment to optical components and systems, we have since been innovation has lead to the rotating Machine Vision Filters An overview involved exclusively in the design, manufacture, import Right Angle Attachment (left) that gives you more options for placing and export of vision-specific elements used by a diverse cameras in your system, and the Types of Filters The 8 major types of filters produced by MidOpt for machine vision applications variety of industries and end users. Over time, the company multi-purpose Slip Mount that lets has evolved and is now recognized worldwide as the premier you add filters to lenses when Machine v/s Photographic Filters Why photographic filters are not suitable for machine vision operations resource for filters, lenses and accessories used in industrial (1) there are no filter threads Testing with Filters Testing the effects of filtering and monochromatic lighting imaging applications. and (2) when a filter is desired for use on a wide- Increase Resolution Filters with High-Resolution and Telecentric Lenses; Chromatic Aberration By combining this extensive optics background with our angle lens. expertise in machine vision imaging, MidOpt continues Filter Applications UV Fluorescence, Polarizing, IR Blocking and Light Balancing Filters to develop economical and solutions for industrial image processing that are simply not found elsewhere. We provide FILTER NO.
    [Show full text]
  • Camerafilters
    Section8 CameraFilters Introduction . 324-325 Tiffen Intro Kits . .376 B+W Glass . 326-344 Heliopan Glass . 345-349 Hoya Glass . 350-358 Tiffen Glass . 359-376 Cokin Resin . 377-379 Hitech Resin . 380-385 Lee Resin . 386-393 Lindahl Resin . 393-394 Kodak Flexible . 395-398, 400-401 Lee Flexible . 395-401 Opliflex Flexible . 395-398 Filter Holders . 401-402 Filter Pouches . .376 INTRODUCTION FILTERS Expand Your Vision With Filters If you are serious about photography (and especially if you take pictures for a living), you want as much control as possible over your images. Filters are essential tools that provide control over the quality of the image that appears on your negative or transparency. Filters are also used as an addition to the creative photographer’s palette. A well-chosen filter can not only correct a multitude Hitech 4x4˝ Color Graduated problems on location or in the studio, it can also change the overall look of a scene and the nature of the final filters, are recommended for all outdoor shooting. CAMERA FILTERS work from a literal depiction to an interpretive, even In Color photography, you can add a lightly-colored abstract, creation. filter to enhance an already-dominant color, to add a There are a few basic principles that will help you choose color that isn’t there, or to create a mood. You can also and use the right filter for any given situation. change the mood of a photo by using a fog filter, which 324 will make even the sunniest scene look like it is in deep fog.
    [Show full text]
  • A New Method for the Measurement of Photographic Filter Factors
    . A NEW METHOD FOR THE MEASUREMENT OF PHOTOGRAPHIC FILTER FACTORS By Raymond Davis ABSTRACT A new method is described whereby the filter factors for orthochromatic and pan- chromatic plates with various filters may be determined with apparatus using a source of light which is corrected in its spectral energy distribution to closely approxi- mate that of average noon sunlight. The apparatus is essentially a single light source photometer in which two beams one from either side of the lamp, are reflected so that they fall side by side on the photographic plate which is used in conjunction with the filter. In the path of one of these beams the filter is inserted, consequently weakening the light in that beam. The lamp, being movable between two of the reflectors, is shifted toward the filter, thus increasing the intensity of the beam on the filter side and diminishing it on the other. Successive exposures are thus made at different lamp positions, so chosen that some fall on one side of the photographic match and some on the other. After development the differences in density between each pair of exposures is measured, and the position of a photographic match obtained therefrom by plotting these differences against the scale of the instrument. Knowing the length of the path of the two beams of light the law of inverse squares is applied to calculate the filter factor. CONTENTS Page I. Introductory 80 II. Apparatus and method of procedure 80 1. Description of instrument 80 2. Experimental procedure 81 3. Measurement of the plates 83 III.
    [Show full text]
  • Dfx V4 User Guide • • Copyright• 2 • • • COPYRIGHT
    Dfx v4 User Guide • • Copyright• 2 • • • COPYRIGHT No part of this document may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying and recording, for any purpose without the express written consent of Digital Film Tools. Copyright © Digital Film Tools, LLC. 2015. All Rights Reserved November 17, 2015 • • • Dfx User Guide • • • • • About Us• 3 • • • ABOUT US Tiffen has been a leading manufacturer and supplier of photographic filters and lens accessories for the consumer/professional imaging and the motion picture and broadcast television industries for over 69 years. The company has a rich history of innovative product design, superior optical consistency and unparalleled quality. Tiffen has been recognized for its product and engineering excellence earning two Technical Achievement Awards and a Scientific and Engineering Award from the Academy of Motion Picture Arts & Sciences, as well as an Emmy Award from the Academy of Television Arts and Sciences. The company's Special Effects optical filters, once an exclusive of the Motion Picture and Television industry are now available to still photographers and videographers through the Tiffen Hollywood F/X filter line and digitally through the Dfx line of software. The Dfx software is produced in collaboration with Digital Film Tools, a computer software company which is an off-shoot of a Los Angeles based motion picture visual effects facility. Their work includes hundreds of feature films, commercials and television shows. Together, our combined understanding of optical filters and computer software creates an unbeatable combination. • • • Dfx User Guide• • • • • About this Guide• 4 • • • ABOUT THIS GUIDE This User Guide is a reference for the Tiffen Dfx Digital Filter Suite.
    [Show full text]
  • Copy Photography Ii Us Army Still Photographic Specialist Mos 84B Skill Level 1
    SUBCOURSE EDITION SS0512 7 COPY PHOTOGRAPHY II US ARMY STILL PHOTOGRAPHIC SPECIALIST MOS 84B SKILL LEVEL 1 AUTHORSHIP RESPONSIBILITY: SSG Dennis L. Foster 560th Signal Battalion Lowry AFB, Colorado AUTOVON: 926-2521 COMMERCIAL: (303) 370-2521 COPY PHOTOGRAPHY II SUBCOURSE NO. SS 0512-7 (Developmental Date: 30 June 1987) US Army Signal Center and Fort Gordon Fort Gordon, Georgia Two Credit Hours GENERAL Copy Photography II subcourse is designed to teach tasks related to copy photography. Information is provided on filters; function, selection, and filter factors; copy film; and procedures for making a photographic copy. This subcourse is presented in three lessons. Each lesson corresponds to a terminal learning objective as listed below. Lesson 1: USE AND PURPOSE OF FILTERS IN COPY WORK TASK: Determine filter functions, selection of filters, and determine filter factors. CONDITIONS: Given information and diagrams about filters, selection of filters, filter factors, and types of filters. STANDARDS: Demonstrate competency of the task skills and knowledge by correctly responding to 80 percent of the multiple-choice test covering filter functions, selection of filters, and filter factors. (This objective supports SM Task 113-578-1014, Alter the Rendition of Colors Recorded on Black and White Film) i Lesson 2: COPY FILMS TASK: Determine the types of copy film and their uses. CONDITIONS: Given information and diagrams about copy films and their uses. STANDARDS: Demonstrate competency of the task skills and knowledge by correctly responding to 80 percent of the multiple-choice test covering types of copy film and their uses. (This objective supports SM Task 113-578-1012, Perform Copy Photography Using Camera Set KS-7A) Lesson 3: PERFORM COPY PHOTOGRAPHY TASK: Describe procedures for making a photographic copy.
    [Show full text]
  • Seven Theses on Photography
    Thesis Eleven 00(0) 1–16 Seven theses on ª The Author(s) 2012 Reprints and permissions: sagepub.co.uk/journalsPermissions.nav photography DOI: 10.1177/0725513612457864 the.sagepub.com Christopher Pinney University College London, UK Abstract Benjamin and Barthes provide the starting point for a series of inter-connected propositions which seek to return the theorization of photography to the primacy of the pro-filmic. The index is reclaimed as a trace of the photographic event, capable only of delivering what Barthes termed the corps. The resulting contingency and exorbitance are the basis of photography’s prophetic and ‘troubling’ potential which free us from viewing photography as simply a screen for the social. The argument is advanced largely using material from India and a case is made for a new conception of ‘world system photography’ which folds ‘belated’ histories into the ‘global’. Keywords contingency, index, India, photography, pro-filmic 1. All photography is part of world system photography To think and write about Indian photography (as the present writer does) is to be confronted by the problem of ex-nomination. If you study European photography then you are likely to be considered a photographic theorist. If you study Indian photography you are likely to be considered a commentator on India photography. The European placement fades away while, conversely, India is underlined as a location, a ‘belated’ case study of what has already happened elsewhere in a purer form. Perhaps an original and paradigm-changing individual working in the ‘margin’ will one day disrupt this, reconfiguring a very powerful set of expectations.
    [Show full text]
  • Unit 1 : Photogrammetry
    Unit 1 Photogrammetry UNIT 1 : PHOTOGRAMMETRY 1.1 Introduction ............................................................................................................................... 3 1.2 Objective .................................................................................................................................. 3 1.3History........................................................................................................................................ 4 1.4Aerial Photography .................................................................................................................... 6 1.4.1 Vertical Aerial photography ........................................................................................... 6 1.4.2Oblique Aerial photography ................................................................................................... 8 1.4.2.1Low Oblique. ........................................................................................................................ 8 1.4.2.2High Oblique. ....................................................................................................... 10 1.4.3Trimetrogon. .................................................................................................................. 11 1.4.4Multiple Lens Photography............................................................................................ 12 1.4.5Convergent Photography ............................................................................................... 12 1.4.6Panoramic.
    [Show full text]
  • Patrick Rice. Master Guide for Professional Photographers. 2006
    Master Guide FOR PROFESSIONAL PHOTOGRAPHERS PATRICK RICE MASTER PHOTOGRAPHER Amherst Media® PUBLISHER OF PHOTOGRAPHY BOOKS Copyright © 2006 by Patrick Rice. All rights reserved. Front cover photographs by: Dennis Orchard (left) and Patrick Rice (right top, center, and bottom). Back cover photograph by: Jesse Josleyn Published by: Amherst Media, Inc. P.O. Box 586 Buffalo, N.Y. 14226 Fax: 716-874-4508 www.AmherstMedia.com Publisher: Craig Alesse Senior Editor/Production Manager: Michelle Perkins Assistant Editor: Barbara A. Lynch-Johnt ISBN-13: 978-1-58428-195-5 Library of Congress Control Number: 2006925663 Printed in Korea. 10 9 8 7 6 5 4 3 2 1 No part of this publication may be reproduced, stored, or transmitted in any form or by any means, electronic, mechan- ical, photocopied, recorded or otherwise, without prior written consent from the publisher. Notice of Disclaimer: The information contained in this book is based on the author’s experience and opinions. The author and publisher will not be held liable for the use or misuse of the information in this book. TABLE OF CONTENTS 1. IMAGE CAPTURE . .7 Flash Photography . .29 Film . .7 Batteries . .30 Negative vs. Positive . .7 Color Balance . .7 2. LENSES . .31 Black & White Film . .8 Qualities of Lenses . .31 Anti-Halation . .10 Focal Length . .31 Film Speed . .10 Normal Lenses . .32 Reciprocity . .11 Wide-Angle Lenses . .32 Storage . .11 Telephoto Lenses . .32 Processing . .12 Prime Lenses vs. Zoom Lenses . .33 Digital Images from Film . .14 Perspective . .33 Film Cameras . .14 Maximum Aperture . .34 35mm Cameras: Point & Shoot vs. SLR . .14 Close-up Photography .
    [Show full text]
  • Roscoview Is the Solution for Studios with Windows!
    RoscoVIEW is the solution for studios with windows! With RoscoVIEW panels on the windows, the exterior exposure can be easily controlled by rotating a matching camera filter. The RoscoVIEW system allows you to shoot your lenses wide open with the exterior overexposed. Simply dial in the exterior exposure to match the interior. Best of all, the ambient light coming into the room or studio is reduced by only one stop. Properly exposed exterior Properly exposed interior Properly exposed interior using Properly exposed interior using RoscoVIEW to balance RoscoVIEW to darken 0˚ 45˚ 90˚ VIEW camera a filter sco fil er o ter am R c W IE V o c r s e lt o i f R a r e m a c W E I V o c s o R Window with Window with Window with Window RoscoVIEW Window RoscoVIEW Window RoscoVIEW Technically this is achieved using cross-polarization. The window panels and the camera filter are both one stop, Rosco Linear Polarizers. By rotating the camera filter, the degree of cross polarization on the RoscoView window filter is changed. This results in 100% control of exterior brightness as seen through the camera. RoscoVIEW is a perfect solution for Broadcast News and Sports as well as the TV and Motion Picture industries. Network News and Sports ABC, BBC, CBC, CNN, CTV, GLOBO News, Bloomberg News, NBC, Sky Sports, TV2, Golf Channel, WFTV, Tour de France, Phoenix TV, Record Brazil, Shaw TV Film and Television “Parenthood”, “Californication”, “The Latest Buzz”, “How Do I Look”, “Extra at the Grove”, “Degrassi - The Next Generation” Rosco Camera Filter Control Camera Filters Motorized camera filter rotators are available from Rosco, providing the Rosco also provides RocsoVIEW glass camera filters in a variety flexibility of remote controlled rotation.
    [Show full text]
  • 121 Digital Frames
    PHOTOGRAPHY 121 800-947-7785 | 212-444-6635 Digital Frames Digital Photo Frames More than just a digital frame, these are Digital Lifestyle Devices PanImage 7- and 8-inch Digital Photo Frames View pictures, listen to music and watch home videos on these true The PanImage 7” and 8” frames feature 800 x 600 resolution, color LCDs. Insert an SD /SDHC card or USB drive into the frame and hold up to 6400 images on 1GB of internal memory and are picutures automatically start in a slideshow mode. Easily transfer files WiFi/Bluetooth compatible. Built-in stereo speakers allows for a from your computer to the frames’ built-in memory with the included full multimedia experience. They allow you to transfer images USB 2.0 cable. Display on a table top with the included frame stand directly from a memory card via 5-in-1 card reader or from PC or mount on your wall — great for digital signage. They include a with included USB cable. Customize the look of your frame with remote control for easy operation the interchangeable white and charcoal mats. They also feature 8-inch: 512MB Memory, 800 x 600 resolution (ALDPF8) ............................................................52.99 a real time clock, calendar, alarm, audio out port, programmable 8-inch: Same as above, without speakers and no remote (ALDPF8AS) .........................................40.96 On/Off, and image rotate/resize. 12-inch: 512MB Memory, 800 x 600 resolution (ALDPF12) .........................................................95.00 7-inch Frame (PADPF7) ..........................................................................................................59.95 15-inch: 256MB Memory, 1024 x 768 resolution (ALDPF15) .....................................................159.00 8-inch Frame (PADPF8) ..........................................................................................................64.95 PanImage 10.4” Digital Picture Frame DP356 Stores up to 5000 images on 1GB of internal memory and is WiFi/ 3.5” Digital Photo Album with Alarm Clock Bluetooth compatible.
    [Show full text]
  • A Tutorial for Designing Fundamental Imaging Systems
    OPTI521 Fall 2009 Report Tutorial Distance Learning Koichi Taniguchi A tutorial for designing fundamental imaging systems Koichi Taniguchi OPTI 521 – Distance Learning College of Optical Science University of Arizona November 2009 Abstract This tutorial shows what to do when we design opto-mechanical system for imaging system. Basic principles about designing paraxial systems are introduced. In particular, you can find how to decide specifications, how to select optical elements, how to calculate image shift and how to estimate wavefront errors. Introduction Optical elements have been developed due to development of manufacturing tools, and we can use various kinds of mirrors, lenses, prisms or filters in various systems, and we can get high-quality elements. When we develop optical systems, we need to decide specifications according to cost, size or image quality. Figure.2.1 is an example of imaging microscope optical system. This includes features which we have to decide when we are designing basic optical systems. Apertue stop Scattered or Tilt, Filters reflected light Element surface error, Lateral shift Material internal defects Imaging Device LOS Wavefront aberration Object Objective lens Collimated ray Imaging lens Figure.2.1 An example of imaging microscope optical system Nov. 2009 Page. 1 / 10 OPTI521 Fall 2009 Report Tutorial Distance Learning Koichi Taniguchi Specifications of optical system with imaging devices When we design optical systems, we need to decide specifications of optical systems. We need to decide following basic specifications, (1) Magnification and focal length, (2) Resolution and depth of focus. (1)(1)(1) Magnification and focal length We should decide magnification of designed system according to the resolution of the image.
    [Show full text]
  • A Changing Picture
    Glossary of Photographic Terms Expert knowledge means success Contents 1. Introduction 1. Glossary Terms in Alphabetical Order: 1. A 2. B and C 3. D 4. E and F 5. G 6. H and I 7. J, L and M 8. N and O 9. P and R 10. S 11. T, U, V, W, X and Z 11. Further Information Glossary of Photographic Terms Note: This publication has not been updated and are classified as D-type AF Nikkor since it was last published. Some of the lenses. hyperlinks may have changed and may need updating. In addition, some of the information AF or Auto Focus in this publication may be out of date. Most modern SLR lenses have this function now. The lens automatically focuses on the subject as quick as the eye. With an SLR you Introduction can normally select manual focus if The following glossary contains terms necessary. What is a Camera? relating to digital cameras including SLR and AI (Nikon) DSLR cameras as well as photographic The term camera Automatic index; Nikon's system for telling comes from the the camera's exposure meter what the lens' effects. The list may not be complete as new camera obscura maximum aperture is. terms and acronyms are arising all the time. (Latin for "dark AI/S (Nikon) chamber"), an early Automatic index/Shutter; Nikon's lens mount mechanism for permitting automatic operation in shutter- projecting images. Glossary priority and program auto-exposure The modern camera systems. evolved from the camera obscura. A Aliasing This is an effect caused by sampling an AA Filter image at too low a rate.
    [Show full text]