tag:blogger.com,1999:blog-4572115919886451112024-03-13T14:41:42.584-07:00Photography, DSLR, Camera, Lensinformation on digital camera, dslr, lens, photography tutorials, tipsUnknownnoreply@blogger.comBlogger26125tag:blogger.com,1999:blog-457211591988645111.post-56897912833219671642012-12-28T07:49:00.002-08:002014-03-10T23:10:25.115-07:00Macro Photography<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="http://1.bp.blogspot.com/-BfitTTKCA1Q/UN2-OYjM4BI/AAAAAAAAAT0/lRAPPcdW3nQ/s1600/macro-photography.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://1.bp.blogspot.com/-BfitTTKCA1Q/UN2-OYjM4BI/AAAAAAAAAT0/lRAPPcdW3nQ/s320/macro-photography.jpg" height="213" width="320" /></a></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Sooner or later, most photographers develop an interest in seeing the world from a close-up point of view. The camera industry, now more than ever, has accommodated this desire by manufacturing a multitude of different <a href="http://photographyguide99.blogspot.com/2012/11/what-is-focal-length.html" target="_blank">focal length</a> zoom lenses-many of which offer a macro or close-focus feature - as well as close-up filters, extension tubes, and true macro lenses. All of this equipment is designed to allow photographers to explore worlds that would otherwise pass by unnoticed. Sometimes, you may find yourself getting so close to your subject that reality fades away and worlds geometric and microscopic elements emerge. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Since close-up, or macro, <a href="http://myphotoex.blogspot.in/" target="_blank">photography</a> offers unlimited possibilities of exploration. Consider the world view from the perspective of an ant and it soon becomes apparent that the world has just gotten bigger-much, much bigger. And when this new ground is explored solely with the vision of the close-up or macro lens, it is no surprise that, even in one hundred lifetimes, one would have barely scratched the surface.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><a href="http://myphotoex.blogspot.com/2014/03/almond-badam-photo.html" target="_blank">Close-up</a> or macro photography involves, not surprisingly, a lot of unusual camera positions and subsequent points of view. Again you will find yourself spending a great deal of time on your knees and belly, as well as on your back. There's also the added complication of shallow <a href="http://photographyguide99.blogspot.com/2012/09/depth-of-field.html" target="_blank">depth of field</a> due to the close focusing distances even when using <a href="http://photographyguide99.blogspot.com/2012/09/aperture.html" target="_blank">apertures</a> as small as f/22. One of the surest ways to overcome this limited range of sharpness is to keep the film place parallel to the subject whenever possible and use a firm and steady pair of elbows or a tripod that has collapsible legs that spread all the way to ground level.</span></div>
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Unknownnoreply@blogger.com7tag:blogger.com,1999:blog-457211591988645111.post-66189845814881499932012-11-26T08:28:00.000-08:002012-12-28T04:32:27.624-08:00The Big Picture - The Nikon D600 dSLR<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="http://3.bp.blogspot.com/-h2IAa3loCqU/ULOYaXR9LhI/AAAAAAAAASA/nfiD_7mZKDs/s1600/nikon+D600+dSLR.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="232" src="http://3.bp.blogspot.com/-h2IAa3loCqU/ULOYaXR9LhI/AAAAAAAAASA/nfiD_7mZKDs/s320/nikon+D600+dSLR.jpg" width="320" /></a></div>
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<b><span style="font-family: Arial, Helvetica, sans-serif;">The Nikon D600 dSLR is a premium pick with a budget price tag,</span></b></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Full-frame SLRs are often viewed by photo enthusiasts as the holy grail of photography, thanks to large sensors that match the size of traditional 35mm film and make budget SLR sensors look practically tiny in comparison! Armed with pro=grade reliability and downright knock-your-socks-off-level image quality, most of us end up just dreaming about buying one of these, thanks to their prohibitive pricing. Well, dreams have just gotten a little more real with the arrival of the D600, Nikon's first stab at a "budget" full-frame <a href="http://myphotoex.blogspot.in/" target="_blank">digital SLR</a>. The big question is- is there too much of compromise made?</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">In design, the D600 is a interesting mix of pro and enthusiast cameras-the use of magnesium alloy and polycarbonate panels and an overall small chasis makes it incrediblly light as a full-frame camera, yet it doesn't make you doubt the quality of construction. If you carry your camera around for hours shooting birds or wild life, your shoulders will thank you for the massive drop in weight!</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Dive inside, and the D600 checks off some essentials - a 24 megapixel full-frame sensor, with 5.5 frames per second (fps) continuous shooting capabilities and a 39-point autofocus system - the latter being a step down from the 51-point AF system offered on the serious high-end Nikon pro cameras, one that trips up the D600 only when you are focusing in gruly poorling light conditions or in fast-paced sports shooting. Folks upgrading from current Nikon cameras will love the DX mode that lets you use non full-frame Nikon lenses with the D600 over a variety of shooting conditions, and no matter what you throw at it, the results are hight on details and noise levels are low all the way up to ISO sensitivity levels of ISO 6400. Choose to shoot in the uncompressed RAW mode, and you'll be rewarded with greater control and results worth taking to the bank.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Apart from the AF system and the minor button compromises that the streamlined design necessitates, there's little to fault with the D600. You have to be serious photographer to spend this much on any camera, but suddenly with the D600, there's a middle ground for people like you whose budgets can't stretch all the way into pro-level prices.</span></div>
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Unknownnoreply@blogger.com3tag:blogger.com,1999:blog-457211591988645111.post-35906789185434732972012-11-22T03:31:00.001-08:002012-12-28T07:46:03.841-08:00What Is Focal Length?<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="http://4.bp.blogspot.com/-1DL_VZ_xQeQ/UK4KJoFxrGI/AAAAAAAAAQg/bz6qW60HAHQ/s1600/normal+focal+lenth.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="241" src="http://4.bp.blogspot.com/-1DL_VZ_xQeQ/UK4KJoFxrGI/AAAAAAAAAQg/bz6qW60HAHQ/s320/normal+focal+lenth.jpg" width="320" /></a></div>
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<span style="font-family: Arial, Helvetica, sans-serif; text-align: justify;">The explanation that a <a href="http://photographyguide99.blogspot.com/2012/11/how-lens-works.html" target="_blank">lens’s</a> focal length is the distance from the optical
center of the lens to its point of focus doesn’t tell the whole story, of
course. What </span><i style="font-family: Arial, Helvetica, sans-serif; text-align: justify;">is </i><span style="font-family: Arial, Helvetica, sans-serif; text-align: justify;">important is that the focal length determines the
relative field of view produced by a lens how wide or narrow its perspective
is. A lens with a wide perspective will provide an expansive view like the one
shown in Figure 1.10. One with an intermediate </span><span lang="EN" style="text-align: justify;"><span style="font-family: Arial, Helvetica, sans-serif;">perspective (which photographers call <i>normal</i>) offers a view like
that in Figure 1.11. A narrow, telephoto </span></span><span style="font-family: Arial, Helvetica, sans-serif; text-align: justify;">view might bring details of a subject in very close, as shown in Figure
1.12.</span><br />
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<a href="http://1.bp.blogspot.com/-5NrD8eYqHxI/UK4Lhz2Qt4I/AAAAAAAAAQw/XmKYxuayrrU/s1600/wide+angle+focal+length.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="242" src="http://1.bp.blogspot.com/-5NrD8eYqHxI/UK4Lhz2Qt4I/AAAAAAAAAQw/XmKYxuayrrU/s320/wide+angle+focal+length.jpg" width="320" /></a><span lang="EN"><span style="font-family: Arial, Helvetica, sans-serif;">Focal lengths are measured in millimeters. Some lenses have a field of view
that is fixed at a particular </span></span><span style="font-family: Arial, Helvetica, sans-serif;">focal length, such as 18mm, 50mm, 105mm, or 200mm. These are called </span><i style="font-family: Arial, Helvetica, sans-serif;">prime
</i><span style="font-family: Arial, Helvetica, sans-serif;"><a href="http://photographyguide99.blogspot.com/2012/12/macro-photography.html" target="_blank">lenses</a> or, sometimes, </span><i style="font-family: Arial, Helvetica, sans-serif;">fixed focal length </i><span style="font-family: Arial, Helvetica, sans-serif;">lenses. Other lenses have
the ability to shift lens elements around to produce a continuous range of
focal lengths. These are called </span><i style="font-family: Arial, Helvetica, sans-serif;"><a href="http://photographyguide99.blogspot.com/2012/09/understanding-digital-zoom.html" target="_blank">zoom</a> </i><span style="font-family: Arial, Helvetica, sans-serif;">lenses. A typical zoom lens might
be able to </span><span style="font-family: Arial, Helvetica, sans-serif;">change <a href="http://photographyguide99.blogspot.com/2012/09/understanding-lens-multiplication-with.html" target="_blank">magnifications</a> from an 18mm wide view to a 200mm telephoto
perspective, thus incorporating </span><span style="font-family: Arial, Helvetica, sans-serif;">the fields of view of the 18mm, 50mm, 105mm, and 200mm prime lenses listed
previously, plus all the focal lengths between them. Whether a given focal
length is considered wide, normal, or telephoto depends on the size of the
<a href="http://photographyguide99.blogspot.com/2012/10/digital-image-sensor.html" target="_blank">sensor</a> (or film) used to capture the image. For that reason, a lens that might
be considered wide when used with one digital camera, might be categorized as a
normal lens when used with a <a href="http://photographyguide99.blogspot.com/2012/09/digital-single-lens-reflex-dslr.html" target="_blank">digital camera</a> that has a smaller sensor. Because
most consumer digital SLRs have sensors that are similar in size, the most
common focal lengths can be grouped into general categories, with, of course,
some overlap between adjacent groups. The following list shows the approximate
focal </span><span style="font-family: Arial, Helvetica, sans-serif;">lengths of lenses used with cameras that have a 1.5x or 1.6x “crop factor,”
with a little overlap in focal lengths between some categories (because that
overlap exists in real life). But remember that if you are comparing these
focal lengths with lenses used with film cameras or some professional digital
cameras with no crop factor, and other models with a different crop factor, the
guidelines won’t apply.</span></div>
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<a href="http://2.bp.blogspot.com/-bwfCygA4g2s/UK4Ku8JX2yI/AAAAAAAAAQo/d5KNAznHmEA/s1600/telephoto+focal+length.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="228" src="http://2.bp.blogspot.com/-bwfCygA4g2s/UK4Ku8JX2yI/AAAAAAAAAQo/d5KNAznHmEA/s320/telephoto+focal+length.jpg" width="320" /></a><span lang="EN"><span style="font-family: Arial, Helvetica, sans-serif;"> </span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">◆ <b><span lang="EN">Ultra-Wide Angle: 10-15mm. : </span></b><span lang="EN">These lenses provide the broadest view, taking in large swathes in
landscape photos, or virtually all of an interior space. Objects closer to the
camera may appear larger and the foreground is emphasized, as you can see in
Figure 1.10.<o:p></o:p></span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">◆ <b><span lang="EN">Wide Angle: 16-28mm. : </span></b><span lang="EN">Use these lenses for most landscape, architecture, and interior
photography, or any subjects where you have a wide field of view.<o:p></o:p></span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">◆ <b><span lang="EN">Normal: 28-40mm. : </span></b><span lang="EN">This focal length range is defined separately because, before zoom
lenses became predominant, most cameras were purchased with a “normal” lens (a
full-frame focal length of 50mm), with an unremarkable field of view that was
neither fish nor fowl/wide nor telephoto. While the normal range gained a
reputation as “boring,” prime lenses of this focal length have large maximum
apertures (often f/2 to f/1.4), which makes them ideal for low-light
photography. Normal focal lengths are also good for 3/4 and full-length
portraits, or shots of small groups.<o:p></o:p></span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">◆ <b><span lang="EN">Short Telephoto: 40-60mm. : </span></b><span lang="EN">Lenses in this focal
length range have been traditionally called “portrait” lenses, because they
provide a flattering perspective for headand- shoulders (and closer) portrait
images. Focal lengths shorter than this range can exaggerate the size of features
like noses that are closer to the camera, at the expense of features like ears,
which are farther away and appear to be too small. Focal lengths of about 100mm
or longer tend to compress facial features together in a flattening effect.<o:p></o:p></span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">◆ <b><span lang="EN">Medium Telephoto: 60- 135mm. : </span></b><span lang="EN">Lenses in this range (as well as those at the long end of the short
telephoto range) are popular for close-up and macro photography, because they
let you maintain a little distance between your subject and the camera. That
distance makes lighting the subject easier, and can be less threatening to
small living subjects, such as insects. Medium telephoto lenses are also useful
for sports at close range, and some portraits, at the<o:p></o:p></span></span></div>
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<span lang="EN"><span style="font-family: Arial, Helvetica, sans-serif;">shorter (61-90mm) end of the range.<o:p></o:p></span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">◆ <b><span lang="EN">Long Telephoto: 135-300mm. : </span></b><span lang="EN">These focal lengths
are useful for pulling in any subject that’s too far from the camera to fill
the frame. You’ll find them helpful for shooting concerts, sports events, and
skittish wildlife. longer telephoto lenses require solid technique to minimize
the effects of camera shake (image stabilization, a tripod, and/or faster
shutter speeds are required) and to manage the reduced range of sharpness these
lenses offer.<o:p></o:p></span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">◆ <b><span lang="EN">Super Telephoto: 300mm and above. : </span></b><span lang="EN">Really long focal lengths are most useful to wildlife photographers,
who must photograph creatures from hundreds of feet away (or smaller critters
from dozens of feet away). Outdoor sports photographers who want to put
themselves into the middle of the huddle, at the edges of the scrum, or capture
an exciting play from the other side of the stadium or field also benefit from
really long focal lengths. It’s true that 300mm just barely qualifies for this
category: the really long focal lengths range from 400 to 600mm. Anything above
600mm is likely to be an exotic set of optics with an exotic price, as well.</span></span><span lang="EN" style="font-family: "Arial","sans-serif"; mso-ansi-language: EN;"><o:p></o:p></span></div>
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Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-457211591988645111.post-88503898056013069972012-11-17T02:44:00.000-08:002012-12-28T07:50:32.011-08:00How a Lens Works<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="http://3.bp.blogspot.com/-eZ2rPARTmz8/UKdnVxdH4dI/AAAAAAAAAOw/NbVcxYuMzdg/s1600/convex+lens+1.1.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="213" src="http://3.bp.blogspot.com/-eZ2rPARTmz8/UKdnVxdH4dI/AAAAAAAAAOw/NbVcxYuMzdg/s320/convex+lens+1.1.jpg" width="320" /></a></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">At its very simplest, a <a href="http://photographyguide99.blogspot.com/2012/09/understanding-lens-multiplication-with.html" target="_blank">lens</a> element is a (mostly) transparent element made of glass, plastic, or some other material, with one or two curved surfaces that bend (refract) the direction of light as it passes through. A curve that bulges outward (convex) causes the light to converge towards a single point of focus. A curve that bulges inward (concave) causes the light to diverge, instead. </span><br />
<a name='more'></a><a href="http://4.bp.blogspot.com/-pcbXQl-I3vA/UKdnfoZ-g8I/AAAAAAAAAO4/tLDA75bLBM4/s1600/concave+lens+1.2.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="http://4.bp.blogspot.com/-pcbXQl-I3vA/UKdnfoZ-g8I/AAAAAAAAAO4/tLDA75bLBM4/s200/concave+lens+1.2.jpg" width="187" /></a><span style="font-family: Arial, Helvetica, sans-serif;">One of the surfaces of the lens element </span><span style="font-family: Arial, Helvetica, sans-serif;">can be flat (planar) and not curved. </span><span style="font-family: Arial, Helvetica, sans-serif;">Figure 1.1 shows a simple lens element with two convex surfaces, while in Figure 1.2, you can see an equally simple lens element with two concave surfaces. Lens elements can be built with any combination of convex, concave, and planar surfaces (see Figure 1.3) depending on the desired properties of the lens to magnify, reduce, or correct for defects called aberrations. Most lens elements have spherical curvature; that is, the curve of the element is the same as the surface of a sphere of appropriate size. Some lens elements have more complex, non-spherical surfaces that can provide </span><span style="font-family: Arial, Helvetica, sans-serif;">more sophisticated optical corrections, and are called aspherical. Individual <a href="http://photographyguide99.blogspot.com/2012/11/what-is-focal-length.html" target="_blank">lens</a> elements can be created by grinding and polishing a piece of lens material to the desired shape, or by molding. Photographic lenses usually consist of three or more lens elements arranged in one or more groups that provide the desired optical effects, such as a telephoto or wide-angle viewpoint. Figure 1.4 shows a lens design that has </span><span style="font-family: Arial, Helvetica, sans-serif;">been used for more than 100 years, called a Cooke triplet, that is notable because it was the first photographic lens to provide sharpness right out to the edge of the <a href="http://photographyguide99.blogspot.com/2012/10/digital-image-sensor.html" target="_blank">image</a>. More complex designs followed, such as the four-element Tessar patented by the Zeiss optical company, shown in Figure 1.5.</span></div>
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<a href="http://1.bp.blogspot.com/-Ewqz_OjUsOI/UKdntsTCbGI/AAAAAAAAAPI/R5dfZPCeI4Q/s1600/lens+1.3.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="217" src="http://1.bp.blogspot.com/-Ewqz_OjUsOI/UKdntsTCbGI/AAAAAAAAAPI/R5dfZPCeI4Q/s400/lens+1.3.jpg" width="400" /></a></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Lenses are designated by their focal length, which is the distance from the optical center of the lens to its point of convergence or focus at the sensor (or, in a film camera, at the film plane). The more strongly a lens converges light, the shorter its focal length, and the wider its angle of view; a lens that converges light over a greater distance provides a <a href="http://photographyguide99.blogspot.com/2012/09/understanding-lens-multiplication-with.html" target="_blank">magnification</a> effect, and is most often called a telephoto lens. (Technically, a telephoto lens is actually one particular type of long-focal-length lens.) Some lenses, including <a href="http://photographyguide99.blogspot.com/2012/09/aperture.html" target="_blank">zoom</a> lenses, have moving elements that can be shifted to change the focal length of the lens, thus altering its field of view and magnification. (See Figure 1.6.)</span></div>
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<a href="http://2.bp.blogspot.com/-XFH9pUpWmNc/UKdnv5D7TsI/AAAAAAAAAPQ/Wt9H8LqnFQQ/s1600/three+element+lens+1.4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="172" src="http://2.bp.blogspot.com/-XFH9pUpWmNc/UKdnv5D7TsI/AAAAAAAAAPQ/Wt9H8LqnFQQ/s320/three+element+lens+1.4.jpg" width="320" /></a></div>
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<a href="http://2.bp.blogspot.com/-hFjoBEI5kg0/UKdnqoXGvoI/AAAAAAAAAPA/iGOt18Qvi94/s1600/four+element+lens.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="207" src="http://2.bp.blogspot.com/-hFjoBEI5kg0/UKdnqoXGvoI/AAAAAAAAAPA/iGOt18Qvi94/s400/four+element+lens.jpg" width="400" /></a></div>
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<a href="http://2.bp.blogspot.com/-6kxOmzFW4Qk/UKdnziVuTKI/AAAAAAAAAPY/hIZVIdfYif0/s1600/zoom+lens+1.6.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="217" src="http://2.bp.blogspot.com/-6kxOmzFW4Qk/UKdnziVuTKI/AAAAAAAAAPY/hIZVIdfYif0/s400/zoom+lens+1.6.jpg" width="400" /></a></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Source : David Busch's Digital SLR Lens</span></div>
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Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-457211591988645111.post-11526683476100977762012-10-24T02:58:00.000-07:002012-11-15T09:29:23.268-08:00Measuring the Intensity of Light<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-size: 10pt;"><span style="font-family: Arial, Helvetica, sans-serif;">In order
to shoot an image with the correct exposure, you have to know the correct value
of the intensity of light. Photographers use light meters to measure the
intensity of the reflective light in a scene. Digital cameras have built-in
light meters that are very sophisticated and incredibly accurate. However,
their accuracy is subjective. The recommended aperture and shutter values are
determined by how light falls in the scene and by how the light meter is set.
</span></span><br />
<a name='more'></a><span style="font-size: 10pt;"><span style="font-family: Arial, Helvetica, sans-serif;">The camera’s light meter may recommend an </span></span><span style="font-family: Arial, Helvetica, sans-serif; font-size: 10pt;"><a href="http://photographyguide99.blogspot.com/2012/09/aperture.html" target="_blank">aperture</a>
and <a href="http://photographyguide99.blogspot.com/2012/10/shutter-and-shutter-speed.html" target="_blank">shutter</a> combination that offers a decent exposure. However, it may not give
you the perfect exposure because it doesn’t know what you’re photographing. <a href="http://photographyguide99.blogspot.com/2012/10/the-color-temperature-of-light.html" target="_blank">Lightmeters</a> can’t evaluate colors or contrast. They only see luminance, which is the
brightness of the reflected light in a scene.</span></div>
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<span style="font-size: 10pt;"><span style="font-family: Arial, Helvetica, sans-serif;">Cameras
with sophisticated light meters can be set to meter, or test, specific areas of
the scene. Most <a href="http://photographyguide99.blogspot.com/2012/09/digital-single-lens-reflex-dslr.html" target="_blank">DSLR</a>s allow you to choose the portion of the viewfinder to
meter. These meter settings include, but are not limited to: <o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-size: 10pt;"><span style="font-family: Arial, Helvetica, sans-serif;"><br /></span></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-family: Arial, Helvetica, sans-serif;"><b><span style="font-size: 10pt;">Â </span></b><b><span style="font-size: 10pt;">Evaluative: </span></b><span style="font-size: 10pt;">Evaluative
metering operates by dividing the frame into several small segments, taking a
reading from each individual segment, and processing the average of the total
segments to recommend the best exposure value for the overall image.<o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-family: Arial, Helvetica, sans-serif;"><b><span style="font-size: 10pt;"><br /></span></b></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-family: Arial, Helvetica, sans-serif;"><b><span style="font-size: 10pt;">Â </span></b><b><span style="font-size: 10pt;">Spot:</span></b><span style="font-size: 10pt;"> </span><span style="font-size: 10pt;">Spot
metering operates by metering within a small target area that is usually in the
center of the frame. Spot metering is particularly useful when your subject is placed
in front of a relatively bright or dark background. Spot metering ensures that you
will correctly expose your subject. The drawback is that the background may be incredibly
under- or overexposed. This is why you should bracket (shoot multiple </span></span><span style="font-family: Arial, Helvetica, sans-serif; font-size: 10pt;">exposures
of the same image) when shooting in a situation that requires the use of the
spot meter. For more information on bracketing, see “Bracketing the Exposure of
an Image,” below.</span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-family: Arial, Helvetica, sans-serif;"><b><span style="font-size: 10pt;"><br /></span></b></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-family: Arial, Helvetica, sans-serif;"><b><span style="font-size: 10pt;">Â </span></b><b><span style="font-size: 10pt;">Center-weighted:</span></b><span style="font-size: 10pt;"> </span><span style="font-size: 10pt;">When
the camera’s light meter is set to center-weighted, the camera measures the
light in the entire viewfinder but gives extra emphasis to the center of the
frame. This setting is typically used by portrait photographers, because the
subject is usually centered and the background isn’t ignored. If the subject moves
out of the center of the frame, the meter assumes the background is the correct
exposure, leaving your subject incorrectly exposed. It’s important to point out
that light meters provide recommendations only. If the details in the
highlights of the scene are more valuable to you, you may choose to expose the
image shorter than the light meter recommends. Likewise, if the details in </span></span><span style="font-family: Arial, Helvetica, sans-serif; font-size: 10pt;">the
shadows of the scene are of more value, you may choose to expose the image longer
than the light meter recommends. It’s your prerogative as a photographer to use
the light meter to obtain the best exposure of the scene in your image.</span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-family: Arial, Helvetica, sans-serif;"><b><span style="font-size: x-small;">Bracketing
the Exposure of an Image : </span></b></span><span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: x-small;">E</span></span><span style="font-family: Arial, Helvetica, sans-serif; font-size: 10pt;">ven
careful metering sometimes yields an under- or overexposed image. This is why
professional photographers bracket their images, whenever possible, to be
absolutely sure they have a correctly exposed image. Bracketing involves taking
three shots of the same image based on the aperture and shutter values
recommended by the light meter: one shot underexposed one stop, one shot at the
recommended exposure, and one shot overexposed one stop. Shooting the image
with a range of three </span><span style="font-family: Arial, Helvetica, sans-serif; font-size: 10pt;">exposure
stops is the best way to ensure you’ll have a properly exposed image. </span><span style="font-family: Arial, Helvetica, sans-serif; font-size: 10pt;">Note: </span><span style="font-family: Arial, Helvetica, sans-serif; font-size: 10pt;">Most
DSLR models have a built-in, automatic exposure-bracketing feature. Refer to
your owner’s manual for directions about how to use it.</span></div>
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<br /></div>
</div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-457211591988645111.post-79493272545626706472012-10-22T19:24:00.000-07:002012-11-15T09:30:10.921-08:00The Color Temperature of Light<div dir="ltr" style="text-align: left;" trbidi="on">
<br />
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-family: Arial, Helvetica, sans-serif;"><i><span style="font-size: 10pt;">Color temperature </span></i><span style="font-size: 10pt;">is a term used
to describe the color of light. Every light source has a <a href="http://photographyguide99.blogspot.com/2012/10/how-white-balance-establishes-color.html" target="_blank">color temperature</a>.
However, color temperature refers to the color value of the light rather than
its heat value. Light’s color temperature is measured in units called </span><i><span style="font-size: 10pt;">Kelvin </span></i><span style="font-size: 10pt;">(K). This
temperature scale measures the relative<a href="http://photographyguide99.blogspot.com/2012/10/measuring-intensity-of-light.html" target="_blank"> intensity</a> of red to blue light. </span></span><br />
<a name='more'></a><span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: 10pt;">Warmer light—light
that tends to cast an orangish-red tint across the image—has a lower temperature.
Neutral or balanced light occupies the midranges, and has no effect on the
image’s color values because of its white qualities. Cooler light—light that is
blue in appearance—has a higher temperature.</span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://3.bp.blogspot.com/-iKb8RqLHTzE/UIX-qln7PHI/AAAAAAAAALk/Mdxs8G8ZY1E/s1600/color+temperature.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="265" src="http://3.bp.blogspot.com/-iKb8RqLHTzE/UIX-qln7PHI/AAAAAAAAALk/Mdxs8G8ZY1E/s400/color+temperature.jpg" width="400" /></a></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: 10pt;"><span style="font-family: Arial, Helvetica, sans-serif;"><br /></span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: 10pt;"><span style="font-family: Arial, Helvetica, sans-serif;">With the
invention of color film came a whole new set of considerations. In addition to correctly
exposing the image, photographers had to take into account the various color tints
different light sources cast across their film emulsion. Film manufacturers improved
the situation by developing film emulsions rated for daylight and tungsten lamp
color temperature ranges. <a href="http://photographyguide99.blogspot.com/2012/09/camera-components-and-concepts-lens.html" target="_blank">Camera</a> manufacturers also jumped in and developed color
filters, attached to the camera’s lens, to help photographers shoot outside the
temperature range of the film. However, these solutions didn’t completely eliminate
the problem because images shot in unforeseen and adverse lighting conditions remained
irreparable during the printing stage.<o:p></o:p></span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-family: Arial, Helvetica, sans-serif;"><b><span style="font-size: 10pt;">[Sources of Light :</span></b><span style="font-size: 10pt;"> Prior to the
invention of electric lights, electromagnetic energy originated from only a few
sources. Even today, the sun is the primary source of light. Fire and
candlelight provided evening light for thousands of years, though considerably
weaker than modern electric lights. Newer sources of light include incandescent
light bulbs, fluorescent light tubes, cathode-ray tubes (CRTs), liquid crystal
displays (LCDs), lightemitting diodes (LEDs), and some phosphorescent
materials. These light sources directly influence the images you create as a
photographer.]</span></span><o:p></o:p></div>
</div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-457211591988645111.post-70218800404079113172012-10-21T19:28:00.003-07:002012-11-15T09:30:29.658-08:00How White Balance Establishes Color Temperature<div dir="ltr" style="text-align: left;" trbidi="on">
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="http://3.bp.blogspot.com/-jQMuuJainkA/UISvNUxlMEI/AAAAAAAAALU/ZMGOVqTxGz0/s1600/White_Balance.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="243" src="http://3.bp.blogspot.com/-jQMuuJainkA/UISvNUxlMEI/AAAAAAAAALU/ZMGOVqTxGz0/s320/White_Balance.jpg" width="320" /></a></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: 10pt;">When you
take a photograph with a <a href="http://photographyguide99.blogspot.com/2012/09/digital-single-lens-reflex-dslr.html" target="_blank">digital camera</a>, the color temperature of the scene is
not taken into account until the image is processed by the camera’s processor.
The camera refers to its white balance setting when it processes the image.
</span></span><br />
<a name='more'></a><span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: 10pt;">When the camera’s white balance is set to auto, the camera assumes the
brightest value is white and adjusts all other colors in the image accordingly.
If the brightest value </span><i><span style="font-size: 10pt;">is </span></i><span style="font-size: 10pt;">white,
the colors in the image are rendered correctly. If the brightest color is
yellow, the camera </span><span style="font-size: 10pt;">still
assumes that value is white, and shifts all the colors out of balance. However,
you can adjust the color temperature of a digital image. White balance is a mathematical
process that calculates an image’s color temperature and applies the effects to
the color values in the image after the <a href="http://photographyguide99.blogspot.com/2012/10/why-shoot-raw-files.html" target="_blank">RAW</a> image is stored. That color temperature
data is stored as metadata in the image. The digital data that makes up the
original RAW file is unchanged. So, no matter what white balance or color temperature
setting was applied at the time the image was shot, </span><i><span style="font-size: 10pt;">the color temperature of the image can always be
corrected after the fact. </span></i><span style="font-size: 10pt;">Digital cameras’ RAW files
solved the problem of color temperature flexibility that the chemistry of film
never could.</span></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<o:p></o:p></div>
</div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-457211591988645111.post-3084728420551003992012-10-17T00:34:00.001-07:002012-11-15T09:30:45.915-08:00The Human Eye’s Subjective View of Color<div dir="ltr" style="text-align: left;" trbidi="on">
<br />
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-size: 10pt;"><span style="font-family: Arial, Helvetica, sans-serif;">Elements
of a good photo include composition, color, and brightness. One of your jobs as
a photographer is to capture the colors you see as intentionally as possible.
Whether you intend to show the color exactly as you see it or you want to
enhance the color by adjusting the color temperature, it is your job to
understand your choices and intentionally compose your picture. </span></span><br />
<a name='more'></a><span style="font-size: 10pt;"><span style="font-family: Arial, Helvetica, sans-serif;">Unfortunately,
human eyes and brains can’t be trusted to see colors objectively. Unless you
can make side-by-side comparisons of your image on the screen, the photographic
print, and the actual subject, it may be hard to tell in what ways the color
shifts from one medium to another. Even when making side-by-side comparisons,
it is nearly impossible to objectively measure what the differences are when
using your eyes alone.</span></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-size: 10pt;"><span style="font-family: Arial, Helvetica, sans-serif;">The
subjective nature of visual perception should not necessarily be viewed as a handicap.
If anything, it may be a blessing. Many challenges in photography come from the
fact that the technology is so unforgivingly objective. A common example of this
is the issue of white balance. Both film stocks and digital image sensors are designed
to interpret white under specific conditions. Outdoor <a href="http://photographyguide99.blogspot.com/2012/10/measuring-intensity-of-light.html" target="_blank">light</a> (daylight) contains
a lot more blue light than indoor (incandescent) light bulbs and candlelight. White
objects in these different lighting conditions objectively look more blue (daylight),
more red (incandescent), or more green (fluorescent), but the brain uses a number
of psychological clues to infer that white objects are white, even if they are objectively
different. A white car during sunset objectively looks quite orange, but if
someone asks you what color the car is, you would reply with certainty that the
car is white. That’s because you know the car is white even if it doesn’t look
white at the moment. In the morning, the car has a bluish tint, and yet again,
you would simply say it is white. Digital image sensors and film, on the other
hand, record only what they objectively receive, and don’t interpret it. The
auto white balance feature on many <a href="http://photographyguide99.blogspot.com/2012/09/digital-single-lens-reflex-dslr.html" target="_blank">digital cameras</a> measures the scene in the
viewfinder and tells the camera to interpret the brightest point as white. This
is important to know when switching between different lighting scenarios. Light
and color can be objectively measured and characterized. The scientific
analysis of light and color is necessary to build reliable, consistent
photographic tools such as film, <a href="http://photographyguide99.blogspot.com/2012/10/digital-image-sensor.html" target="_blank">digital image sensors</a>, displays, and printers.
The goal is not necessarily to make all these devices capture or display colors
the same way (although this would make things a lot easier), but to develop
terminology and processes to objectively measure how these devices are
different and adjust output accordingly, so that results match visual
perception.</span><span style="font-family: MyriadSet-Text;"><o:p></o:p></span></span></div>
</div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-457211591988645111.post-1307346758124567132012-10-15T01:53:00.004-07:002012-11-15T09:31:07.071-08:00Reducing Digital Noise<div dir="ltr" style="text-align: left;" trbidi="on">
<br />
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-size: 10pt;"><span style="font-family: Arial, Helvetica, sans-serif;">Digital
noise is the polka-dot effect in images with long exposures or images shot at high
ISO settings in low-light situations. The effect is most noticeable in images
shot in low-light situations. Many consider digital noise to be a synonym for
film grain. Although the causes are the same, the effects are quite different.
Some film photographers purposely shoot images with enhanced grain for artistic
effect. </span></span><br />
<a name='more'></a><span style="font-size: 10pt;"><span style="font-family: Arial, Helvetica, sans-serif;">However, digital noise detracts from the image because of the sporadic
bright pixels within solid colors, and lacks the aesthetic qualities of
enlarged film grain.</span></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://2.bp.blogspot.com/-9_wr5UNfGPM/UHvO6OIz5JI/AAAAAAAAAKs/cId_ygVDcxs/s1600/noise.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="90" src="http://2.bp.blogspot.com/-9_wr5UNfGPM/UHvO6OIz5JI/AAAAAAAAAKs/cId_ygVDcxs/s320/noise.jpg" width="320" /></a></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-size: 10pt;"><span style="font-family: Arial, Helvetica, sans-serif;">You can
reduce digital noise by taking your photographs at <a href="http://photographyguide99.blogspot.com/2012/10/resolution-and-iso.html" target="_blank">ISO</a> settings between 100 and
400. The 400 ISO setting provides more exposure latitude, but even 400 ISO exhibits
a little noticeable digital noise. If your subject is not moving and you can’t
use a flash, using a tripod can allow you to shoot successfully with low ISO
settings. Many <a href="http://photographyguide99.blogspot.com/2012/09/digital-single-lens-reflex-dslr.html" target="_blank">DSLR</a> models come with a noise-reduction feature. If you turn on
the noise reduction feature, it is automatically activated when you shoot long
exposures. The camera color corrects at the pixel level, processing the image
as it’s shot. The main negative aspect to digital noise reduction on the camera
is the significant lag time required for the image to process between shots.
One way to avoid this lag time between shots is to keep the noise-reduction
feature on your camera off and use the <a href="http://photographyguide99.blogspot.com/2012/09/aperture.html" target="_blank">Aperture</a> Noise Reduction adjustment
controls after you’ve imported your images.</span></span><o:p></o:p></div>
</div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-457211591988645111.post-22839134847161307882012-10-14T02:33:00.001-07:002012-11-22T03:33:23.551-08:00Minimizing Red-Eye in Your Photos<div dir="ltr" style="text-align: left;" trbidi="on">
<br />
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<a href="http://3.bp.blogspot.com/-crY2-_wOPYA/UHqGUjHLHFI/AAAAAAAAAKc/CpdKqY28wHg/s1600/red+eye.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="http://3.bp.blogspot.com/-crY2-_wOPYA/UHqGUjHLHFI/AAAAAAAAAKc/CpdKqY28wHg/s1600/red+eye.jpg" /></a><span style="font-size: 10pt;"><span style="font-family: Arial, Helvetica, sans-serif;">Red-eye
is the phenomenon where people have glowing red eyes in photographs. This is caused
by the close proximity of the flash (especially built-in flash) to the camera
lens, which causes light from the subject to be reflected directly back at the
camera. </span></span><br />
<a name='more'></a><span style="font-size: 10pt;"><span style="font-family: Arial, Helvetica, sans-serif;">When the flash fires, the light reflects off the blood in the
capillaries in the back of the subject’s eyes and back into the <a href="http://photographyguide99.blogspot.com/2012/09/camera-components-and-concepts-lens.html" target="_blank">camera lens</a>.
People with blue eyes are particularly susceptible to the red-eye phenomenon
because they have less pigment to absorb the light.</span></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-size: 10pt;"><span style="font-family: Arial, Helvetica, sans-serif;">There
are a few ways to minimize or eliminate red-eye in your pictures. Some cameras provide
a red-eye reduction feature that fires a preflash, forcing the irises in your subject’s
eyes to close before you take the picture. The main problem with this method is
that it often forces subjects to involuntarily close their eyes before the
image is taken, and it doesn’t always completely eliminate the red-eye <a href="http://www.ramitbatra.com/blog/2012/08/indian-wedding-planner-notes-from-the-photographers-diary/" target="_blank">effect</a>. A
more effective method is to use an external flash via the camera’s hot-shoe
mount or, better yet, with an extension bracket. An external flash radically
changes the angle of the flash, preventing the <a href="http://photographyguide99.blogspot.com/2012/11/what-is-focal-length.html" target="_blank">lens</a> from capturing the
reflection of the blood in the back of your subject’s eyes. While you can also
fix the red-eye effect using Aperture, there is no way to accurately reproduce
the original color of your subject’s eyes. Preventing the problem before it occurs
is the preferred solution.<o:p></o:p></span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
</div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-457211591988645111.post-90399492385155002022012-10-12T04:38:00.001-07:002012-11-22T03:34:02.360-08:00Reducing Camera Shake<div dir="ltr" style="text-align: left;" trbidi="on">
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<a href="http://1.bp.blogspot.com/-sBnsi_0SKOQ/UHgA6-8lboI/AAAAAAAAAKM/NHEbekDQqWY/s1600/camera+shake.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="http://1.bp.blogspot.com/-sBnsi_0SKOQ/UHgA6-8lboI/AAAAAAAAAKM/NHEbekDQqWY/s1600/camera+shake.jpg" /></a><span style="font-family: Arial, Helvetica, sans-serif; font-size: 10pt;">Camera
shake is caused by a combination of the photographer’s hand movements or inability
to keep the camera still, slow <a href="http://photographyguide99.blogspot.com/2012/10/shutter-and-shutter-speed.html" target="_blank">shutter speed</a>, and long focal length. Camera shake
results in a blurred image. The focal length of the lens, combined with a slow shutter
speed, creates a situation in which the shutter speed is too slow to freeze the
image before the camera moves significantly.</span><br />
<a name='more'></a></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-size: 10pt;"><span style="font-family: Arial, Helvetica, sans-serif;">You can
eliminate camera shake by using a tripod or by increasing the shutter speed to a
value higher than the <a href="http://photographyguide99.blogspot.com/2012/11/what-is-focal-length.html" target="_blank">focal length</a>. For example, if you’re shooting at a focal
length equivalent to 100 mm, you should set your shutter speed to 1/100 of a
second or faster. The <a href="http://photographyguide99.blogspot.com/2012/10/digital-image-sensor.html" target="_blank">digital image sensor</a> will capture the image before the
movement of the lens has time to register additional light information on the
sensor.<o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-family: Arial, Helvetica, sans-serif;"><b><i><span style="font-size: 10pt;">Note<a href="http://www.digitalcameraworld.com/2012/09/06/diy-photography-hacks-reduce-camera-shake-with-a-bag-of-lentils/?mtc=comment-549" target="_blank">:</a></span></i></b><i><span style="font-size: 10pt;"> </span></i><span style="font-size: 10pt;">Some lenses have image
stabilization features that allow the photographer to shoot at a shutter speed
whose value is lower than the focal length of the lens.<o:p></o:p></span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<br /></div>
</div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-457211591988645111.post-16805874127395586252012-10-10T19:27:00.001-07:002012-11-15T09:32:03.011-08:00Why Shoot RAW Files?<div dir="ltr" style="text-align: left;" trbidi="on">
<br />
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-family: Arial, sans-serif; font-size: 10pt;">There are many reasons to capture
images as <a href="http://photographyguide99.blogspot.com/2012/10/understanding-raw-jpeg-and-tiff.html" target="_blank">RAW</a> files rather than JPEG files. However, it’s important to note
that RAW image files require additional work to achieve the color balance
you’re looking for, whereas JPEG files are color-balanced by the camera for
you. JPEG files are also smaller than RAW image files, requiring less <a href="http://photographyguide99.blogspot.com/2012/10/memory-card.html" target="_blank">storagespace</a>.</span><br />
<a name='more'></a></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<b><span style="font-family: "Arial","sans-serif"; font-size: 10.0pt;">The
advantages to shooting RAW files are:<o:p></o:p></span></b></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt;">#
Increased bit depth allows for more color-correction “head room.” The
JPEG format is limited to 8 bits per color channel. RAW images store 16 bits
per channel, with 12 to 14 bits per channel of color information. Although it
may sound confusing, this means you can do significantly more color correction
without degrading the image or introducing color noise. <o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt;"># After the RAW file is decoded, you
work with the most accurate and basic data about an image.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt;"># You control the white balance, color
interpolation, and gamma correction aspects of the image during post-production
rather than when shooting.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt;"># The image file isn’t compressed, as
JPEG files are, which means that no image data is lost.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt;"># Most <a href="http://photographyguide99.blogspot.com/2012/09/digital-point-and-shoot.html" target="_blank">cameras</a> are capable of and do
shoot color outside the gamut range of JPEG (both Adobe RGB 1998 and sRGB),
which means color clipping occurs when you shoot JPEG files. RAW files preserve
the camera’s original image gamut, allowing <a href="http://photographyguide99.blogspot.com/2012/09/aperture.html" target="_blank">Aperture</a> to make image adjustments
that take advantage of the full range of captured colors.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt;"># RAW files give you control of noise
reduction (luminance and color separation) and sharpening after capture. JPEG
noise reduction and sharpening are permanently applied to the image according
to the settings on the camera.<o:p></o:p></span></div>
</div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-457211591988645111.post-72123014291854405072012-10-09T19:36:00.001-07:002012-11-15T09:32:25.988-08:00Understanding RAW, JPEG, and TIFF<div dir="ltr" style="text-align: left;" trbidi="on">
<span style="font-family: Arial, sans-serif; font-size: 10pt; text-align: justify;">It’s important to understand the
differences between image file types. RAW, JPEG, and TIFF file types are
described below.</span><br />
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt;"><b>RAW :</b> A camera’s <a href="http://photographyguide99.blogspot.com/2012/10/why-shoot-raw-files.html" target="_blank">RAW</a> file is an
uninterpreted, bit-for-bit digital image recorded by the camera when the image
is captured. Along with the pixels in the image, the RAW file also contains
data about how the image was shot, such as the time of day, the <a href="http://photographyguide99.blogspot.com/2012/09/understanding-f-stop-and-lens-speed.html" target="_blank">exposure</a>
settings, and the camera and lens type. </span><br />
<a name='more'></a><span style="font-family: "Arial","sans-serif"; font-size: 10.0pt;">This information is also known as <i>metadata</i>.
RAW refers to the state of the image file before it has been converted to a common
format, such as JPEG or TIFF. Because most photography applications previously
could not process RAW files, RAW files had to be converted before they could be
used in image processing software.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt;"><b>JPEG :</b> JPEG (Joint Photographic
Experts Group) is a popular image file format that lets you create highly
compressed image files. The amount of compression used can be varied. Less
compression results in a higher-quality image. When you shoot JPEG images, your
camera converts the RAW image file into an 8-bit JPEG file (with 8 bits per
color channel) prior to saving it to the memory card. In order to accomplish
this, the camera has to compress the image, losing image data in the process.
JPEG images are commonly used for online viewing.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt;"><b>TIFF :</b> TIFF (Tag Image File Format) is
a widely used bitmapped graphics file format capable of storing 8 or 16 bits
per color channel. Like JPEG files, TIFF files are converted from RAW files. If
your camera does not have an option to shoot TIFF files, you can shoot RAW
files and then convert them to TIFF files using software. TIFF files can have
greater bit depths than JPEG files, allowing them to retain more color
information. In addition, TIFF files can use lossless compression, meaning that
although the file gets a little smaller, no information is lost. The end result
is greater image quality. For these reasons, printing is commonly done from
TIFF files.<o:p></o:p></span></div>
</div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-457211591988645111.post-13019153053538978662012-10-07T22:32:00.002-07:002012-11-15T09:32:54.599-08:00Memory Card<div dir="ltr" style="text-align: left;" trbidi="on">
<br />
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<a href="http://2.bp.blogspot.com/-fCwoR-laTpg/UHJlFheXvSI/AAAAAAAAAJ8/MqaB-D6d8ho/s1600/memory+card.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="http://2.bp.blogspot.com/-fCwoR-laTpg/UHJlFheXvSI/AAAAAAAAAJ8/MqaB-D6d8ho/s200/memory+card.jpg" width="200" /></a><span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: 10pt;">After
the <a href="http://photographyguide99.blogspot.com/2012/10/digital-image-sensor.html" target="_blank">digital image sensor</a> has captured the image, the camera employs a series of
processes to optimize the image. Many of these processes are based on camera settings
established by the photographer prior to taking the shot, such as the <a href="http://photographyguide99.blogspot.com/2012/10/resolution-and-iso.html" target="_blank">ISO</a> setting.
After image processing, the camera stores the digital information in a file.
</span></span><br />
<a name='more'></a><span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: 10pt;">The type of digital file created varies depending on the camera’s manufacturer.
However, the camera’s <a href="http://photographyguide99.blogspot.com/2012/10/why-shoot-raw-files.html" target="_blank">RAW</a> file contains the digital image data before it has
been converted to a standardized file type, such as <a href="http://photographyguide99.blogspot.com/2012/10/understanding-raw-jpeg-and-tiff.html" target="_blank">JPEG or TIFF</a>. Not all RAW
files are alike, but the image data produced by your camera’s digital image
sensor and processor is retained bit for bit in that file. </span><span style="font-size: 10pt;"> </span><span style="font-size: 10pt;">Once the file is ready for storage, the camera
transfers the file from its processor to the memory card. There are several
types of memory cards, but the process by which they receive the information is
the same.</span></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<o:p></o:p></div>
</div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-457211591988645111.post-67844863698415080532012-10-05T19:31:00.000-07:002012-12-29T20:14:18.719-08:00RESOLUTION and ISO<div dir="ltr" style="text-align: left;" trbidi="on">
<br />
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<a href="http://2.bp.blogspot.com/-hx8RVdDwm5c/UG-Xilf2kXI/AAAAAAAAAJs/_l1SNw-cqYE/s1600/camera+ISO.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="140" src="http://2.bp.blogspot.com/-hx8RVdDwm5c/UG-Xilf2kXI/AAAAAAAAAJs/_l1SNw-cqYE/s320/camera+ISO.jpg" width="320" /></a><span style="font-size: 10pt;"><span style="font-family: Arial, Helvetica, sans-serif;"><b>Resolution : </b>A camera’s
resolution capability is measured in megapixels. This measurement is based on
the number of millions of pixels of image information that can be captured by
the light-sensitive elements on the <a href="http://photographyguide99.blogspot.com/2012/10/digital-image-sensor.html" target="_blank">digital image sensor</a>. Thus, a 15 megapixel
camera is capable of capturing 15 million pixels of information.</span></span><br />
<a name='more'></a><span style="font-size: 10pt;"><span style="font-family: Arial, Helvetica, sans-serif;"><o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-family: Arial, Helvetica, sans-serif;"><b><span style="font-size: 10pt;">ISO
: </span></b><span style="font-size: 10pt;">Traditionally, the International Standards
Organization (ISO) has provided a benchmark rating of the relative sensitivity
of film. The higher the<a href="http://myphotoex.blogspot.com/2012/12/butterfly-they-hate-each-other.html" target="_blank"> ISO </a>rating, the more light sensitive a particular film
is. Higher ISO films require less light to record an image. The ISO rating has
been redefined for digital cameras, indicating the image sensor’s sensitivity
to light. Most <a href="http://photographyguide99.blogspot.com/2012/09/digital-single-lens-reflex-dslr.html" target="_blank">DSLRs</a> have ISO settings from 100 to 3200 ISO. Unfortunately, at higher ISO settings (400
ISO and above), some cameras have difficulty maintaining consistent exposure
for every single pixel in the image. To increase the sensitivity of the digital
image sensor in these situations, the camera amplifies the voltage received
from each image sensor element prior to converting the signal to a digital
value. As the voltage signals from each element are amplified, so are anomalies
within solid dark colors. This results in sporadic pixels with incorrect bright
color values, </span></span><span style="font-family: Arial, Helvetica, sans-serif; font-size: 10pt;">also
known as </span><i style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: 10pt;">digital noise</span></i><span style="font-family: Arial, Helvetica, sans-serif; font-size: 10pt;">. </span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<o:p></o:p></div>
</div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-457211591988645111.post-33693759185496033432012-10-03T06:28:00.001-07:002012-11-17T02:40:13.186-08:00Digital Image Sensor<div dir="ltr" style="text-align: left;" trbidi="on">
<div style="text-align: left;">
<div style="text-align: left;">
<a href="http://1.bp.blogspot.com/-w4oPy-t3Ejo/UGw9DHxGYSI/AAAAAAAAAJc/CvAksxy2sCU/s1600/sensor1.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="183" src="http://1.bp.blogspot.com/-w4oPy-t3Ejo/UGw9DHxGYSI/AAAAAAAAAJc/CvAksxy2sCU/s200/sensor1.jpg" width="200" /></a><span style="font-family: Arial, Helvetica, sans-serif; font-size: 10pt; text-align: justify;">When the
reflective light from the photographed subject passes through the <a href="http://photographyguide99.blogspot.com/2012/11/how-lens-works.html" target="_blank">lens</a> and aperture,
the image is captured by the digital image sensor. A digital image sensor is
the computer chip inside the camera that consists of millions of individual
elements capable of capturing light. The light-sensitive elements transform
light energy to voltage values based on the intensity of the light. </span><br />
<a name='more'></a><span style="font-family: Arial, Helvetica, sans-serif; font-size: 10pt; text-align: justify;">The voltage
values are then converted to digital data by an analog-to-digital converter
(ADC) chip. This process is referred to as </span><i style="font-family: Arial, Helvetica, sans-serif; text-align: justify;"><span style="font-size: 10pt;">analog
to digital conversion</span></i><span style="font-family: Arial, Helvetica, sans-serif; font-size: 10pt; text-align: justify;">. The digital numbers corresponding to the
voltage values for each element combine to create the tonal and color values of
the image.</span></div>
</div>
<div class="MsoNormal" style="text-align: justify;">
</div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: 10pt;">Each light-sensitive
element on a digital image sensor is fitted with either a red, green, or blue
filter, corresponding to a color channel in a pixel in the image that is
captured. There are roughly twice as many green filters as blue and red to
accommodate how the eye perceives color. This color arrangement is also known
as the </span><i><span style="font-size: 10pt;">Bayer pattern color filter array</span></i><span style="font-size: 10pt;">.
A process known as </span><i><span style="font-size: 10pt;">color interpolation </span></i><span style="font-size: 10pt;">is
employed to ascertain the additional color values for each element.<o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<b><span style="font-size: 10pt;"><span style="font-family: Arial, Helvetica, sans-serif;">Common
Types of Digital Image Sensors<o:p></o:p></span></span></b></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-size: 10pt;"><span style="font-family: Arial, Helvetica, sans-serif;">There
are two types of digital image sensors typically used: a charge-coupled device (CCD)
and a complementary metal oxide semiconductor (CMOS).<o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-family: Arial, Helvetica, sans-serif;"><b><span style="font-size: 10pt;">CCD </span></b><span style="font-size: 10pt;">: CCD
sensors were originally developed for video cameras. CCD sensors record the image
pixel by pixel and row by row. The voltage information from each element in the
row is passed on prior to descending to the next row. Only one row is active at
a time. The CCD does not convert the voltage information into digital data
itself. Additional circuitry is added to the camera to digitize the voltage
information prior to transferring the data to the <a href="http://photographyguide99.blogspot.com/2012/10/memory-card.html" target="_blank">storage device</a>.<o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<b><span style="font-size: 10pt;"><span style="font-family: Arial, Helvetica, sans-serif;">CMOS : </span></span></b><span style="font-size: 10pt;"><span style="font-family: Arial, Helvetica, sans-serif;">CMOS
sensors are capable of recording the entire image provided by the
light-sensitive elements in parallel (essentially all at once), resulting in a
higher rate of data transfer to the storage device. Additional circuitry is
added to each individual element to convert the voltage information to digital
data. A tiny colored microlens is fitted on each element to increase its
ability to interpret the color of light. Advances have been made in recent
years in the sensitivity and speed of CMOS sensors, making them the most common
type of digital image sensor found in professional<a href="http://photographyguide99.blogspot.com/2012/09/digital-single-lens-reflex-dslr.html" target="_blank"> DSLRs</a>.</span><span style="font-family: MyriadSet-Text;"><o:p></o:p></span></span></div>
</div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-457211591988645111.post-19468966439380121622012-10-02T03:11:00.000-07:002012-11-15T09:34:25.317-08:00Using Reciprocity to Compose Your Image<div dir="ltr" style="text-align: left;" trbidi="on">
<div style="text-align: justify;">
<span style="font-family: Arial, Helvetica, sans-serif;">You can adjust the <a href="http://photographyguide99.blogspot.com/2012/09/aperture.html" target="_blank">aperture</a> setting and <a href="http://photographyguide99.blogspot.com/2012/10/shutter-and-shutter-speed.html" target="_blank">shutter speed</a> to create several different correctly exposed images. The relationship between the aperture and shutter is known as reciprocity. Reciprocity gives the photographer control over the depth of field of the Image, which controls the area of the image that remains in focus. This is the easiest way to control what part of the image you want the viewer to pay attention to.</span></div>
<div style="text-align: justify;">
<span style="font-family: Arial, Helvetica, sans-serif;">For example, opening the fens aperture by one </span><a href="http://photographyguide99.blogspot.com/2012/09/understanding-f-stop-and-lens-speed.html" style="font-family: Arial, Helvetica, sans-serif;" target="_blank">stop</a><span style="font-family: Arial, Helvetica, sans-serif;"> and decreasing the shutter speed by one stop results in the same exposure. Closing the aperture by one stop and increasing the shutter speed by one stop achieves the same exposure as well. Therefor, f4 at 1/90 of second is equal to f5.6 at 1/45 of a second. The reason is that the camera's aperture setting and shutter speed combine to create the correct exposure of an image.</span></div>
</div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-457211591988645111.post-68511861130095640232012-10-01T19:20:00.002-07:002012-12-31T19:20:24.135-08:00SHUTTER and SHUTTER SPEED<div dir="ltr" style="text-align: left;" trbidi="on">
<br />
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<b><span style="font-family: "Arial","sans-serif"; font-size: 10.0pt;">Shutter<o:p></o:p></span></b></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt;">The shutter is a complicated mechanism
that precisely controls the duration of time that light passing through the
<a href="http://photographyguide99.blogspot.com/2012/09/camera-components-and-concepts-lens.html" target="_blank">lens</a> remains in contact with the digital image sensor. The camera’s shutter is
activated by the shutter release button. Prior to the digital age, the shutter
remained closed to prevent the film from being </span><span style="font-family: Arial, sans-serif; font-size: 10pt;">exposed. </span><br />
<a name='more'></a><span style="font-family: Arial, sans-serif; font-size: 10pt;">Depending on the type of
digital image sensor, a mechanical shutter may not be necessary. Rather than a
shutter revealing light to initiate a chemical reaction in the film, the
digital image sensor may simply be turned on and off.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<b><span style="font-family: "Arial","sans-serif"; font-size: 10.0pt;">Shutter Speed<o:p></o:p></span></b></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<i><span style="font-family: "Arial","sans-serif"; font-size: 10.0pt;">Shutter speed </span></i><span style="font-family: "Arial","sans-serif"; font-size: 10.0pt;">refers to the amount
of time the shutter is open or the digital image sensor is activated. The
<a href="http://myphotoex.blogspot.com/2012/12/trail-effect-of-light-in-photography.html" target="_blank">exposure</a> of the image is determined by the combination of shutter speed and the
opening of the <a href="http://photographyguide99.blogspot.com/2012/09/aperture.html" target="_blank">aperture</a>. Shutter speeds are displayed as fractions of a second,
such as 1/8 or 1/250. Shutter speed increments are similar to aperture
settings, as each incremental setting either halves or doubles the time of the previous
one. For example, 1/60 of a second is half as much <a href="http://photographyguide99.blogspot.com/2012/09/understanding-f-stop-and-lens-speed.html" target="_blank">exposure</a> time as 1/30 of a second,
but about twice as much as 1/125 of a second. Photographers often use shutter
speeds to convey or freeze motion. A fast-moving object, such as a car, tends
to blur when shot with a slow shutter speed like 1/8. On the other hand, a fast
shutter speed, such as 1/1000, appears to freeze the blades of a </span><span style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 115%;">helicopter while it’s flying</span></div>
</div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-457211591988645111.post-38248164913662786702012-09-21T01:59:00.000-07:002012-11-22T03:34:30.580-08:00Depth of Field<div dir="ltr" style="text-align: left;" trbidi="on">
<br />
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<a href="http://3.bp.blogspot.com/-alJ5VXy1zA0/UFwr_AeoKJI/AAAAAAAAAIo/umVTIr9c0cw/s1600/Depth_of_Field_Comparison1.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="225" src="http://3.bp.blogspot.com/-alJ5VXy1zA0/UFwr_AeoKJI/AAAAAAAAAIo/umVTIr9c0cw/s320/Depth_of_Field_Comparison1.jpg" width="320" /></a><span style="font-family: Arial, Helvetica, sans-serif; font-size: 10pt;"><a href="http://en.wikipedia.org/wiki/Depth_of_field#External_links" target="_blank">D</a>epth of
field is the area of the image that appears in focus from foreground to background
and is determined by a combination of the opening of the aperture and the <a href="http://photographyguide99.blogspot.com/2012/09/camera-components-and-concepts-lens.html" target="_blank">focal length</a> of the lens. A small aperture setting results in greater <a href="http://aptnk.in/2011/02/understanding-depth-of-field/" target="_blank">depth of field</a>.
Controlling depth of field is one of the easiest ways for a photographer to
compose the image. </span><br />
<a name='more'></a><span style="font-family: Arial, Helvetica, sans-serif; font-size: 10pt;">By limiting the depth of field of an image, the photographer
can turn the attention of the viewer on the subject in focus. Often, limiting
the <a href="http://ashdepth.blogspot.in/2012/04/creative-photography-with-dof.html?showComment=1348500994323#c3942282976479046600">depth of field</a> of an image helps eliminate clutter in the background. On
the other hand, when shooting a landscape, you want the image to have great
depth of field. Limiting the depth of field to the foreground would not make
sense<a href="http://joostdevblog.blogspot.in/2012/04/depth-of-field-blur-swiss-army-knife.html?showComment=1348501365155#c2508478251310672810">. .</a></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-family: Arial, Helvetica, sans-serif; font-size: 10pt;"><br /></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-size: 10pt;"><span style="font-family: Arial, Helvetica, sans-serif;"><a href="http://photographyguide99.blogspot.com/2012/09/camera-components-and-concepts-lens.html" target="_blank">Telephotolenses</a> (with long <a href="http://photographyguide99.blogspot.com/2012/11/what-is-focal-length.html" target="_blank">focal lengths</a>) tend to have shallow focus when the aperture
is opened all the way, limiting the <a href="http://www.dofmaster.com/dofjs.html">depth of field</a> of an image. Wide-angle lenses
(with short focal lengths) tend to create images with great depth of field regardless
of the aperture setting.</span><span style="font-family: MyriadSet-Text;"><o:p></o:p></span></span></div>
</div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-457211591988645111.post-22849562506282013682012-09-19T01:21:00.000-07:002012-11-15T09:36:04.438-08:00Understanding F-Stop and Lens Speed<div dir="ltr" style="text-align: left;" trbidi="on">
<br />
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<a href="http://4.bp.blogspot.com/-0xJmokY0X44/UFmANeHkUHI/AAAAAAAAAIQ/0ik6LAtD1-o/s1600/f-stop.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="158" src="http://4.bp.blogspot.com/-0xJmokY0X44/UFmANeHkUHI/AAAAAAAAAIQ/0ik6LAtD1-o/s320/f-stop.jpg" width="320" /></a><span style="font-family: Arial, Helvetica, sans-serif;"><b>f-stop<span style="font-size: x-small;"><o:p></o:p></span></b></span></div>
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<span style="font-size: 10pt;"><span style="font-family: Arial, Helvetica, sans-serif;">The
photographer adjusts the opening of the aperture by setting the f-stop. An
f-stop is a ratio of the focal length of the lens to the diameter of the
opening of the <a href="http://photographyguide99.blogspot.com/2012/09/aperture.html" target="_blank">aperture</a>. For example, a 50 mm lens with an aperture opened up
to a diameter of 12.5 mm results in an f-stop of f4 (50 ÷ 12.5 = 4). </span></span><br />
<a name='more'></a><span style="font-size: 10pt;"><span style="font-family: Arial, Helvetica, sans-serif;">Therefore,
the larger the numerical value of the f-stop, the smaller the opening of the
aperture. The speed of a lens is determined by its largest f-stop value
(smallest number). Thus, the larger the aperture, the faster the lens.<o:p></o:p></span></span></div>
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<span style="font-size: 10pt;"><span style="font-family: Arial, Helvetica, sans-serif;"><br /></span></span></div>
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<span style="font-size: 10pt;"><span style="font-family: Arial, Helvetica, sans-serif;"><br /></span></span></div>
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<br /></div>
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<span style="font-size: 12pt;"><span style="font-family: Arial, Helvetica, sans-serif;"><b>Understanding <a href="http://photographyguide99.blogspot.com/2012/09/camera-components-and-concepts-lens.html" target="_blank">Lens</a> Speed</b><o:p></o:p></span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: 10pt;">A lens’s
speed is determined by the maximum amount of light the lens is capable of transmitting—the
largest f-stop value. When a lens is capable of transmitting more light than
other lenses of the same focal length, that lens is referred to as </span><i><span style="font-size: 10pt;">fast</span></i><span style="font-size: 10pt;">. Fast lenses allow
photographers to shoot at higher shutter speeds in low-light conditions. For example,
lenses with maximum f-stop values between 1.0 and 2.8 are considered fast.</span></span><span lang="EN" style="font-family: MyriadSet-Text; font-size: 10.0pt; mso-ansi-language: EN; mso-bidi-font-family: MyriadSet-Text;"><o:p></o:p></span></div>
</div>
Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-457211591988645111.post-46733482705130765412012-09-18T03:14:00.001-07:002012-12-28T07:51:15.648-08:00Aperture<div dir="ltr" style="text-align: left;" trbidi="on">
<br />
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: 10pt;">The
aperture is the opening in the lens (created by an adjustable iris or
diaphragm) that allows light to pass through. The exposure of the image is
determined by the combination of <a href="http://photographyguide99.blogspot.com/2012/10/shutter-and-shutter-speed.html" target="_blank">shutter speed</a> and the opening of the aperture.
The larger the aperture, the more light is allowed to pass through the lens.
The aperture is measured in <a href="http://photographyguide99.blogspot.com/2012/09/understanding-f-stop-and-lens-speed.html" target="_blank">f-stops,</a> and each stop represents a factor of two
in the amount of light admitted. The aperture setting <a href="http://photographyguide99.blogspot.com/2012/09/aperture.html" target="_blank">(f-stop)</a>, combined with
the focal length of the lens, determines the depth of field </span><span style="font-size: 10pt;">of
an image. For more information on depth of field.</span></span></div>
</div>
Unknownnoreply@blogger.com2tag:blogger.com,1999:blog-457211591988645111.post-74185662561376062722012-09-16T06:35:00.004-07:002012-11-22T03:34:58.255-08:00Understanding Digital Zoom <div dir="ltr" style="text-align: left;" trbidi="on">
<br />
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<span style="font-size: 10pt;"><span style="font-family: Arial, Helvetica, sans-serif;">The digital zoom feature offered by some
<a href="http://photographyguide99.blogspot.com/2012/09/digital-point-and-shoot.html" target="_blank">camera models</a> does not really zoom in closer to the subject. Digital zoom crops
into the center area of the captured frame, effectively enlarging the pixels.
This results in a picture with a lower overall image quality. If you don’t have
a <a href="http://photographyguide99.blogspot.com/2012/09/camera-components-and-concepts-lens.html" target="_blank">telephoto</a> or optical zoom lens and you want a close-up, physically move
<a href="http://photographyguide99.blogspot.com/2012/11/what-is-focal-length.html" target="_blank">closer to the subject</a>, if you can.</span></span></div>
</div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-457211591988645111.post-65282231551819837842012-09-13T09:01:00.001-07:002012-11-17T02:42:47.285-08:00Understanding Lens Multiplication with DSLRs<div dir="ltr" style="text-align: left;" trbidi="on">
<div style="text-align: justify;">
<span style="font-family: Arial, Helvetica, sans-serif; font-size: 10pt;">Most interchangeable <a href="http://photographyguide99.blogspot.com/2012/09/camera-components-and-concepts-lens.html" target="_blank">lenses</a> were
originally created and rated for the 35 mm film plane of traditional SLRs. If
you compare the area of a 35 mm film plane with the area of most digital image
sensors’ image planes, you’ll see that the area of most digital image sensors
is a bit smaller. The focal length of a <a href="http://photographyguide99.blogspot.com/2012/11/how-lens-works.html" target="_blank">lens</a> changes when it is put on a <a href="http://photographyguide99.blogspot.com/2012/09/digital-single-lens-reflex-dslr.html" target="_blank">DSLR</a>
with a digital image sensor smaller than 35 mm. This smaller image plane effectively
increases the focal length of the lens because more of the image circle coming
out of the lens is cropped. For example, if you put a 100 mm lens on a DSLR that
has a 24 mm digital image sensor, the focal length of the lens is multiplied by
a factor of approximately 1.3. A 100 mm lens with a 1.3x multiplication factor
effectively becomes a 130 mm lens (100 mm multiplied by 1.3). Another reason to
take lens multiplication into account is that shooting wide-angle images
becomes increasingly difficult when using cameras with smaller digital image sensors.
For example, if your <a href="http://photographyguide99.blogspot.com/2012/10/digital-image-sensor.html" target="_blank">digital image sensor</a> is 24 mm, you require a lens with a focal
length less than 24 mm to achieve a wide-angle view. Check your camera specifications
for the size of your digital image sensor.</span></div>
</div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-457211591988645111.post-30059240518579033802012-09-13T08:21:00.000-07:002012-11-15T09:37:11.503-08:00Camera Components and Concepts - Lens<div dir="ltr" style="text-align: left;" trbidi="on">
<br />
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: 10pt;">The basic components of a<a href="http://photographyguide99.blogspot.com/2012/09/digital-single-lens-reflex-dslr.html" target="_blank"> DSLR</a> are
described below. (Most of the components in a rangefinder are also found in a
DSLR.)</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><b><span lang="EN" style="font-size: 10pt;">Lens, <a href="http://photographyguide99.blogspot.com/2012/09/aperture.html" target="_blank">Aperture</a>, <a href="http://photographyguide99.blogspot.com/2012/10/shutter-and-shutter-speed.html" target="_blank">Shutter</a></span></b><b><span lang="EN" style="font-size: 10pt;">, </span></b><b><span lang="EN" style="font-size: 10pt;">Digital image sensor,
<a href="http://photographyguide99.blogspot.com/2012/10/memory-card.html" target="_blank">Memory card</a>, External flash<o:p></o:p></span></b></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><b><span lang="EN" style="font-size: 12pt;">Lens</span></b><span lang="EN" style="font-size: 12pt;"><o:p></o:p></span></span></div>
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<span lang="EN" style="font-size: 10pt;"><span style="font-family: Arial, Helvetica, sans-serif;">A lens is a series of sophisticated
elements, usually glass, constructed to refract and focus the reflective light
from a scene at a specific point—the<a href="http://photographyguide99.blogspot.com/2012/10/digital-image-sensor.html" target="_blank"> digital image sensor</a>. </span></span><br />
<a name='more'></a><span lang="EN" style="font-size: 10pt;"><span style="font-family: Arial, Helvetica, sans-serif;">Beyond framing an
image, the first interaction you have with the reflective light from your
subject is through your camera’s lens.<o:p></o:p></span></span></div>
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<br /></div>
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<b><span lang="EN" style="font-size: 10pt;"><span style="font-family: Arial, Helvetica, sans-serif;">Focal Length<o:p></o:p></span></span></b></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN" style="font-size: 10pt;">An important attribute of a lens, besides
its quality, is its focal length. </span><i><span lang="EN" style="font-size: 10pt;">Focal length </span></i><span lang="EN" style="font-size: 10pt;">is technically defined as the distance from the part of
the optical path where the light rays converge to the point where the light rays
passing through the lens are focused onto the image plane—or the digital image
sensor. This distance is usually measured in millimeters. From a practical
point of view, focal length can be thought of as the amount of magnification of
the lens. The longer the focal length, the more the lens magnifies the scene.
In addition to magnification, the focal length determines the perspective and
compression of the scene.<o:p></o:p></span></span></div>
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<b><span lang="EN" style="font-size: 10pt;"><span style="font-family: Arial, Helvetica, sans-serif;">Lens Types<o:p></o:p></span></span></b></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<span lang="EN" style="font-size: 10pt;"><span style="font-family: Arial, Helvetica, sans-serif;">Although there are many varieties of
lenses, common lens types include telephoto, wideangle, zoom, and prime. All of
these lenses perform the same basic function: they capture the reflective light
from the subject and focus it on the image sensor. However, the way they
transmit the light differs.<o:p></o:p></span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><b><i><span lang="EN" style="font-size: 10pt;">Note<a href="http://www.digitalcameraworld.com/2011/02/03/44-essential-digital-camera-tips-and-tricks/" target="_blank">:</a></span></i></b><i><span lang="EN" style="font-size: 10pt;"> </span></i><span lang="EN" style="font-size: 10pt;">Although there are several subcategories and hybrids of these lens types,
these are the most basic.<o:p></o:p></span></span></div>
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<br /></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><b><span lang="EN" style="font-size: 10pt;">Telephoto : </span></b><span lang="EN" style="font-size: 10pt;">A telephoto lens is a lens with a long focal length that
magnifies the subject. Telephoto lenses are typically used by sports and nature
photographers who shoot their subjects from great distances. Telephoto lenses
are also used by photographers who want greater control over limiting the depth of field (the area of an image in
focus). The larger aperture settings, combined with the long focal lengths of
telephoto lenses, can limit the depth of field to a small area (either the
foreground, middle, or background of the image). Small aperture settings,
combined with long focal lengths, make objects in<o:p></o:p></span></span></div>
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<span lang="EN" style="font-size: 10pt;"><span style="font-family: Arial, Helvetica, sans-serif;">the foreground and background seem closer
together.<o:p></o:p></span></span></div>
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<br /></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><b><span lang="EN" style="font-size: 10pt;">Wide-Angle : </span></b><span lang="EN" style="font-size: 10pt;">A wide-angle lens is a lens with a short focal length
that takes in a wide view. Wide angle lenses are typically used when the
subject is in the extreme foreground and the photographer wants the background
in focus as well. Traditionally, the focal length of a wide-angle lens is
smaller than the image plane. However, in the digital photography age, the
sizes of image sensors vary, and the lens multiplication factors of most DSLRs increase
the focal length. Check the specifications of your camera to ascertain the size
of your digital image sensor. If the size of your digital image sensor is 28
mm, you require a lens with a focal length less than 28 mm to achieve a
wide-angle view.<o:p></o:p></span></span></div>
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<br /></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><b><span lang="EN" style="font-size: 10pt;">Zoom : </span></b><span lang="EN" style="font-size: 10pt;">A <a href="http://photographyguide99.blogspot.com/2012/09/understanding-digital-zoom.html" target="_blank">zoom</a> lens, also known as an </span><i><span lang="EN" style="font-size: 10pt;">optical zoom lens, </span></i><span lang="EN" style="font-size: 10pt;">has the mechanical capacity to change its focal length. A
zoom lens can be extremely convenient, because many zoom lenses can change
their focal lengths from wide-angle to standard and from standard to zoom. This
eliminates the need to carry and change multiple lenses while shooting a subject
or project. However, because of the movement between focal lengths, the f-stops aren’t
always entirely accurate. To achieve a greater level of accuracy with apertures,
many manufacturers have multiple minimum aperture values as the lens moves from
a shorter focal length to a longer one. This makes the lens slower at longer focal
lengths. Plus, a zoom lens requires additional glass elements to correctly
focus the light at different focal lengths. It is desirable to have the light
pass through the least amount of glass in order to obtain the highest-quality
image possible.<o:p></o:p></span></span></div>
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<br /></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><b><span lang="EN" style="font-size: 10pt;">Prime : </span></b><span lang="EN" style="font-size: 10pt;">A prime lens also known as a </span><i><span lang="EN" style="font-size: 10pt;">fixed lens, </span></i><span lang="EN" style="font-size: 10pt;">has a fixed focal length that is not modifiable. Prime
lenses often have wider maximum apertures, making them faster. Wider apertures allow for brighter images in
low-light situations, as well as greater control over depth of field. Prime
lenses are primarily used by portrait photographers.</span></span><span lang="EN"><o:p></o:p></span></div>
</div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-457211591988645111.post-58930064128112647572012-09-12T07:18:00.004-07:002012-11-15T09:37:31.437-08:00Digital Point-and-Shoot<div dir="ltr" style="text-align: left;" trbidi="on">
<br />
<div style="text-align: justify;">
<span style="font-family: Arial, Helvetica, sans-serif;">This is a lightweight digital <a href="http://digital-photography-school.com/why-lens-quality-doesnt-matter-quite-as-much-as-you-think-it-does/comment-page-1#comment-325097">camera</a>, aptly named after the two steps required of the photographer to capture an image. Basically, point-and-shoot cameras require pointing the camera and taking the picture without manually adjusting settings such as the aperture, shutter speed, focus, and other settings that professional photographers routinely set on more sophisticated cameras. </span><br />
<a name='more'></a><span style="font-family: Arial, Helvetica, sans-serif;">Of course, some point-and-shoot digital cameras do include adjustable <a href="http://photographyguide99.blogspot.com/2012/09/aperture.html" target="_blank">aperture</a> <a href="http://www.essenceinphotography.com/dofollow-blog-quality-photography-backlinks/#comment-3420" target="_blank">and</a> <a href="http://photographyguide99.blogspot.com/2012/10/shutter-and-shutter-speed.html" target="_blank">shutter</a> settings. Point-and-shoot digital cameras are generally light and small, have built-in automatic flash, require no adjusting of focus, and most often include an LCD display that allows you to view the image through the lens in real time via the digital image sensor. Most manufacturers of point-and-shoot cameras separate the viewfinder from the lens assembly to simplify construction and achieve a compact size. The lens, aperture, and shutter are one assembly, irremovable from the camera itself. Because rangefinder cameras separate the optical path between the viewfinder and the <a href="http://photographyguide99.blogspot.com/2012/09/camera-components-and-concepts-lens.html" target="_blank">lens</a> assembly, optical compression and frame indicators (guidelines) are used to approximate the image’s frame. This approximation often causes subtle differences between what the photographer sees in the viewfinder and what is captured in the image. This is especially noticeable when the subject is close to the camera.</span></div>
</div>
Unknownnoreply@blogger.com0