LENSES There Is Something Magical About the Image Formed by a Lens
Total Page:16
File Type:pdf, Size:1020Kb
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. -
Freelensing Presentation
FREELENSING WORKSHOP NOTES by ALMITRA HILL These notes are taken from a workshop presentation by Almitra Hill at Lane Cove Creative Photography on Thursday 3 May 2018. WHAT IS FREELENSING? An alternative shooting technique where an interchangeable lens is detached from the camera body and held up to the mount opening during exposure. The lens is often tilted to distort the focal plane and selectively focus. Distinctive features include: wedge of focus, distorted perspective, softness/blur, light leaks, flare. Above: some examples of freelensed images STARTING OUT Which lens to use • A “normal” prime lens is a good place to start (35mm or 50mm) but zoom lenses can be used. • Something lightweight that is easy to handle. • A slower maximum aperture can be handy. • Manual aperture ring is extremely useful. • Vintage lenses are great! • A different-mount lens with a longer register/flange focal distance will enable more distant focus (e.g. Nikon lens with Canon body). A note on aperture… • Default apertures depend on the make and mount of lens: Canon-mount lenses default to wide open when detached, most other lenses default to fully stopped down. • TIP: Canon users can hold down the DoF preview button while detaching a lens (with the power on) and the aperture will remain as set. www.lanecovecreativephotography.org • Nikon, Pentax, Sony, Sigma, Tamron etc lenses have an aperture control lever on the rear of the lens that can be held open with a small piece of card/plastic/hairtie. • Manual aperture rings allow you to stop down mechanically. Setting exposure • Meter electronically: Canon and Nikon meters still function with the lens detached. -
Canon Lenses Canon Lenses from Snapshots to Great Shots
final spine = 0.4625" Canon Lenses Lenses Canon From Snapshots to Great Shots You own a Canon DSLR, but which Canon lens is best for your shooting Jerod Foster is an style and your budget? This guide by pro photographer Jerod Foster editorial and travel From Snapshots to Great Shots Great Snapshots to From will help you learn the features of Canon lenses to capture the photographer and author of Sony NEX-6: From stunning pictures you want for a price that matches your needs. Snapshots to Great Shots; Foster starts with the basics of using lenses in the Canon lineup— Color: A Photographer’s Guide to Directing the Canon Lenses from kit, to prime, to wide angle, to telephoto, to zoom, and more. Whether it’s portraits, landscapes, sports, travel, or night photography, Eye, Creating Visual Depth, and Con- veying Emotion; and Storytellers: A you will have a better understanding of the different Canon lenses Photographer’s Guide to Developing and your choices for investing in them. In this guide you will: From Snapshots to Great Shots Themes and Creating Stories with • Master the key camera features that relate to lenses—depth Pictures. He also leads photography of field, perspective, and image stabilization workshops and is a photography professor at Texas Tech University. Visit • Learn the difference between full frame versus cropped sensors his website and read his popular and how they affect specific lenses photography blog at jerodfoster.com. • Understand best practices for maintaining your lenses and for taking better pictures • Accessorize -
With Its Focal Length Shorter Than That of the Normal Lens, the Wideangle Lenses Cover an Angle of View of 60° Or More. The
With its focal length shorter than that of the normal lens, the wideangle lenses cover an angle of view of 60° or more. The wideangle lens allows coverage of quite a broad view from a close camera position or photography in constricted areas. It can be effectively utilized in architectural exteriors and interiors and group shots. The wideangle lens is also suited for instant candid work which does not allow precise focusing on fast-moving subjects. Its profound depth of field compensates for inaccurate focusing. Another outstanding feature of the wideangle lens is exaggeration of perspective. This type of lens tends to give an interesting and dramatic effect which is more conspicuous, the wider the angle of lens. Today, "Wideangle Shooting" occupies a unique place in creative photography. Advanced photographers often emphasize the exaggerated perspective known as "wideangle distortion" to accomplish special creative effects. Nikon offers one of the widest selections of outstanding wideangle lenses to meet specific photographic requirements in wide field photography. L-15 20mm f/3.5 Nikl<or-UD Auto Code No. 108-01-105 The concept of optical construction is entirely new. Focal length: 20mm The lens consists of 11 elements in 9 groups, with Maximum aperture: 1 : 3.5 Lens construction: 11 elements in 9 groups back focus 1.87 times longer than the focal length. Picture angle: 94° Thus, the lens can be mounted on the camera with Distance scale: Graduated both in meters and feet up to the mirror in normal viewing position. (There is no 0.3m and 1ft f/3.5 - f / 22 need to lock up the mirror.) Aperture scale: Aperture diaphragm: Fully automatic With this lens, there is almost no need to focus, if Meter coupling prong: Integrated (fully open exposure metering) the diaphragm is closed down slightly. -
Choosing Digital Camera Lenses Ron Patterson, Carbon County Ag/4-H Agent Stephen Sagers, Tooele County 4-H Agent
June 2012 4H/Photography/2012-04pr Choosing Digital Camera Lenses Ron Patterson, Carbon County Ag/4-H Agent Stephen Sagers, Tooele County 4-H Agent the picture, such as wide angle, normal angle and Lenses may be the most critical component of the telescopic view. camera. The lens on a camera is a series of precision-shaped pieces of glass that, when placed together, can manipulate light and change the appearance of an image. Some cameras have removable lenses (interchangeable lenses) while other cameras have permanent lenses (fixed lenses). Fixed-lens cameras are limited in their versatility, but are generally much less expensive than a camera body with several potentially expensive lenses. (The cost for interchangeable lenses can range from $1-200 for standard lenses to $10,000 or more for high quality, professional lenses.) In addition, fixed-lens cameras are typically smaller and easier to pack around on sightseeing or recreational trips. Those who wish to become involved in fine art, fashion, portrait, landscape, or wildlife photography, would be wise to become familiar with the various types of lenses serious photographers use. The following discussion is mostly about interchangeable-lens cameras. However, understanding the concepts will help in understanding fixed-lens cameras as well. Figures 1 & 2. Figure 1 shows this camera at its minimum Lens Terms focal length of 4.7mm, while Figure 2 shows the110mm maximum focal length. While the discussion on lenses can become quite technical there are some terms that need to be Focal length refers to the distance from the optical understood to grasp basic optical concepts—focal center of the lens to the image sensor. -
The Camera Versus the Human Eye
The Camera Versus the Human Eye Nov 17, 2012 ∙ Roger Cicala This article was originally published as a blog. Permission was granted by Roger Cicala to re‐ publish the article on the CTI website. It is an excellent article for those police departments considering the use of cameras. This article started after I followed an online discussion about whether a 35mm or a 50mm lens on a full frame camera gives the equivalent field of view to normal human vision. This particular discussion immediately delved into the optical physics of the eye as a camera and lens — an understandable comparison since the eye consists of a front element (the cornea), an aperture ring (the iris and pupil), a lens, and a sensor (the retina). Despite all the impressive mathematics thrown back and forth regarding the optical physics of the eyeball, the discussion didn’t quite seem to make sense logically, so I did a lot of reading of my own on the topic. There won’t be any direct benefit from this article that will let you run out and take better photographs, but you might find it interesting. You may also find it incredibly boring, so I’ll give you my conclusion first, in the form of two quotes from Garry Winogrand: A photograph is the illusion of a literal description of how the camera ‘saw’ a piece of time and space. Photography is not about the thing photographed. It is about how that thing looks photographed. Basically in doing all this research about how the human eye is like a camera, what I really learned is how human vision is not like a photograph. -
Food Photography Camera Bag from the Foodtography Desk
FOODTOGRAPHYSCHOOL.COM FOOD PHOTOGRAPHY CAMERA BAG FROM THE FOODTOGRAPHY DESK HEY THERE, Foodtographer! Welcome! We’re so excited you’re interested in learning more about camera gear. As a photographer, getting the right equipment can be a daunting task. Not to mention all the new vocabulary! From makes and models, to focal lengths, fixed frame, cropped sensors, megapixels, and more, things can get confusing. Like, HALP! Luckily, we’re here to help! In this guide, we’re bringing you our best recommendations for everything you need in your camera bag. We even have multiple suggestions based on different price points to help suit a variety of needs. Now go out there and assemble that perfect camera bag! Love & Brownies, Sarah *Some of the links listed are affiliate links. This means if you click on a link and purchase the item, we will receive an affiliate commission from the retailer at no cost to you. Thank you for your support! FOODTOGRAPHYSCHOOL.COM FOOD PHOTOGRAPHY CAMERA BAG Cameras First things first, cameras! At its core, a camera is a box that lets in light. There are many different ways that cameras can let in light, all with varying degrees of accuracy when it comes to how they record color, contrast, and light itself. POINT AND SHOOT CAMERAS On the lower-quality end of things are point-and-shoot cameras. These are cameras designed to be easy to use, so much so that you can basically point your camera and shoot! They come with a built-in lens, and are quite limited in their functionality. -
ARRI Large Format Camera System
Jon Fauer ASC Camera Type Large Format (LF) film-style digital camera with an electronic viewfinder, LF Open Gate, LF 16:9 and LF 2.39:1 switchable active sensor area, built-in radios for the ARRI Wireless Remote System, the ARRI Wireless Video System and WiFi, built-in LF FSND filter holder, Lens Data System LDS-1, LDS-2, /i, integrated shoulder arch and receptacles for 15 mm lightweight rods. Ideal for High Dynamic Range and Wide Color Gamut recording and monitoring.SensorLarge Format (36.70 x 25.54 mm) ALEV III CMOS sensor with Bayer pattern color filter array.Photo SitesSensor Mode LF Open Gate (36.70 x 25.54 mm, Ø 44.71 mm)4448 x 3096 used for LF Open Gate ARRIRAW 4.5K4448 x 3096 used for LF www.fdtimes.com Open Gate ProRes 4.5KSensor Mode LF 16:9 (31.68 x 17.82 mm, Ø 36.35 mm)3840 x 2160 used for LF 16:9 ARRIRAW UHD3840 x 2160+113° used F) for@ 70%LF 16:9 humidity ProRes max, UHD3840 non-condensing. x 2160 down Splash and dust proof through sampled to 2048 x 1152 for LF 16:9 ProRes 2K3840 x 2160 down sampled to 1920 x 1080 for LF 16:9 ProRes HDSensor Mode LF 2.39:1 (36.70 x 15.31 mm,Ø 39.76 mm)4448 x 1856 used for LF 2.39:1 ARRIRAW 4.5K4448 x 1856 used for LF 2.39:1 ProRes 4.5KOperating ModesLF Open Gate, LF 16:9 or LF(-4° 2.39:1 F to sensor modes. -
DEPTH of FIELD Depth of Field Is Simply the Area in Front of Your Camera Where Everything Looks Sharp and in Focus
DEPTH OF FIELD Depth of field is simply the area in front of your camera where everything looks sharp and in focus. For example, if you're focused on somebody standing 10 feet in front of the camera, your depth of field might be from 8 feet to 14 feet. That means objects falling within that area will be Large Aperture = Less Depth Of Field acceptably-sharp and in focus; objects falling outside the area will be soft and out of focus. DEPTH OF FIELD Small Aperture = Greater Depth Of Field Next: Your depth of field increases as your subject gets farther from the camera. The farther away the subject, the more depth of field; the closer the subject, the less depth of field. There are several important things to know about depth of field. First is this: Your depth of field decreases as you increase your focal Length. In other words, with a Disatant Subject = Greater Depth of Field telephoto lens you have a much shallower area in focus than with a normal lens. That's why with a zoom lens, you zoom in to telephoto for focusing--it makes it easier to see the exact point where your subject is sharpest. Close Subject = Less Depth of Field Finally: You always have less depth of field in front of Telephoto = Less depth of field your point of focus than behind it. This is especially noticeable at distances of 25 feet or less. At these near The next thing to know is: Your depth of field increases distances, you can usually figure on your depth of field as you decrease your focal length. -
141 Midterm Review
141 midterm review FILM EXPOSURE Short or Wide-angle Lenses Exposure is controlled by: 1. Common wide angle lenses for a 4x5 1. f/stop (or aperture) located in the lens view camera: 90mm and 75 mm 2. Shutter speed. The shutter is: 2. Give a wider angle of view than a normal lens. a. located in the camera body on a 3. Have more depth of field than longer lenses. 35mm single-lens reflex 4. Increased feeling of space. b. located in the lens on a 4x5 view camera The B setting holds the shutter open for as long as Long or Telephoto Lenses: the shutter release is held. 1. Common long lenses for a 4x5: 210mm, 300mm The X setting on the shutter is for electronic flash 2. Give a narrow angle of view. synchronization, M is for flash bulbs. 3. Are generally slower than wide lenses. The T setting is for long exposures. Pressing the 4. Less depth of field than shorter lenses. shutter once on T opens the shutter, 5. Compress space. pressing it again closes the shutter. DEPTH OF FIELD- The area of the image Equivalent exposures are adjustments made to in front and back point of focus, that falls within shutter speeds or f/stops which change a visual acceptable focus. effect without altering film or print density. Example: Depth of field (DOF) is determined by: changing from f8 at 1/125 to f11 at 1/60, increases 1. F/stop (smaller apertures increase DOF) the depth of field in the scene while maintaining an i.e. -
Choosing a Lens of the Right Focal Length That You Will Get the Appropriate Angle of View
How to choose a camera lens Understanding the technology SUMMARY When you buy a camera, make sure the lens is suited for the intended purpose. With the right lens, you can greatly enhance the results you achieve in a particular type of photography and, by having a variety of lenses, you can greatly extend the usefulness of your camera. This paper provides a basic introduction to the principles of camera lenses. It explains the terminology: what is meant by focal length and f/number? Choose the right lens and taking good photographs becomes so much easier! The Basics The most important component of your camera is the lens. It’s no good having a camera with an impressively large number of megapixels if the lens is not up to the job. A lens has two basic properties: Focal length This determines the field of view of the lens. To match human vision, you’d need a lens with a focal length of about 35mm (in photography, focal length is always measured in millimetres). The normal, or standard, focal length for a camera lens is 50mm - anything smaller is called wide-angle, anything greater is called telephoto. A camera lens offering a range of focal lengths is called a zoom lens; one of fixed focal length is called a prime lens. f/number The ratio of the focal length of the lens (f) to its effective diameter: the size of its ‘window’ on the outside world , or aperture. The f/number is a measure of the light gathering power of the lens (called its speed). -
Clinical Photography Manual by Kris Chmielewski Introduction
Clinical Photography Manual by Kris Chmielewski Introduction Dental photography requires basic knowledge about general photographic rules, but also proper equipment and a digital workflow are important. In this manual you will find practical information about recommended equipment, settings, and accessories. For success with clinical photo documentation, consistency is the key. The shots and views presented here are intended as recommendations. While documenting cases, it is very important to compose the images in a consistent manner, so that the results or stages of the treatment can easily be compared. Don’t stop documenting if a failure occurs. It’s even more important to document such cases because of their high educational value. Dr. Kris Chmielewski, DDS, MSc Educational Director of Dental Photo Master About the author Kris Chmielewski is a dentist and professional photographer. Highly experienced in implantology and esthetic dentistry, he has more than 20 years experience with dental photography. He is also a freelance photographer and filmmaker, involved with projects for the Discovery Channel. 2 CONTENT Equipment 4 Camera 5 Initial camera settings for dental photography 7 Lens 8 Flash 10 Brackets 14 Accessories Retractors 15 Mirrors 16 Contrasters 17 Camera & instrument positioning 18 Intraoral photography Recommended settings 22 Frontal views 23 Occlusal views 23 Lateral views 24 Portraits Recommended settings 26 Views 27 Post-production 29 How to prepare pictures for lectures and for print 30 3 Equipment Equipment For dental photography, you need a camera with a dedicated macro lens and flash. The equipment presented in these pages is intended to serve as a guide that can help with selection of similar products from other manufacturers.