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Transcript of Photography1
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Photography for Multimedia
B.Sc. (Hons) Multimedia Computing
Media Technologies
Photographic Principles
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Agenda
Photography Evolution Camera Types Lens Principles Exposure Control Lenses
B.Sc. (Hons) Multimedia Computing
Media Technologies
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The first photograph (Niepce, 1816)
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Early photograph (Daguerre, 1830’s)
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35mm:Nikon F2AS (Film)
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35mm : Nikon F6 (Film)
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35mm:Nikon DX2s Digital (12MP)
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Medium Format: Film 6 x 6 cm
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Medium Format: Digital 39MP
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Large Format Film:5x4 & 10x8
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Large Format Digital
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Premise
Even the World’s most sophisticated camera is in essence just a light-tight box
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Fundamentals
Expose the light sensitive material with a quantity of light for a given time
Film, or… Digital – it’s the same concept
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Camera Principles
light
Light sensitive material
Light-tight enclosure
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Camera Obscura
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The Pinhole Camera
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Camera Principles
Scene Image
Pinhole Camera
Resulting image is mirrored and inverted
Small aperture results in very long exposures
Light Rays
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Camera Principles
Scene Image
Pinhole Camera
Increasing the pinhole size provides more light to shorten exposure times but introduces distortion of light rays resulting in poor image qualityLight Rays
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Lens Principles
Scene Image
Simple Lens
Simple lens refracts light to reduce distortions
Light Rays
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Lens Principles
Scene Image
Compound Lens
Compound lens designed to control variety of lens aberrations which affect both image sharpness and colour
Light Rays
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Camera Elements
Lens Shutter Viewfinder system Focusing mechanism Transport Light Meter
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Basic Elements of a Camera
viewfinder
shutter aperture
lens
focusing mechanism
light sensitive medium
transport
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Camera Types
Rangefinders Single Lens Reflex (SLR) Twin Lens Reflex (TLR) Monorail
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Rangefinder
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Single Lens Reflex
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Twin Lens Reflex (Medium Format)
Taking Lens
Viewing Lens
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Monorail: 5 x 4 & 10 x 8
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35mm v Medium Format
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Exposure Control Aperture value controls amount of light Shutter speed controls duration exposure of time Combination of aperture and shutter speed gives
correct exposure - for a particular light sensitivity Combination defined as an exposure value (EV) Standard light sensitivity is 100 ISO (ASA) Higher light sensitivity provide faster exposure times Lower light sensitivity provide slower exposure times Fast film has a more grainy structure than slow film
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Exposure Control: Aperture
Aperture controls amount of light via lens iris Iris adjusted by changing aperture value on lens Large f number = smaller iris size = less light Small f number = larger iris size = more light
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Aperture Control
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Exposure Control: Shutter Shutter controls time light exposed to medium Typical ranges 1 second - 1/2000th sec Shorter (faster) shutter speeds = less time Longer (slower) shutter speeds = more time Shutter positioned at the focal plane or between the
lens (medium format) Focal plane shutters can be horizontal run or vertical
run
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Exposure Balance
f stop shutter speed
Sensitivity of film
f 5.6 1 / 500th
100 ISO
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Exposure Balance
f 8 1 / 250th
200 ISO
f 11 1 / 250th100 ISO
200 ISO
f 8 1 / 500th
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Exposure Balance: Three-Way
Exposure balanced between medium sensitivity aperture value and shutter speed
Double or half the sensitivity = one ‘stop’ Double or half the shutter speed = one stop Aperture values change by a factor of 1.4 = one stop
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Exposure Modes Manual - you set aperture and shutter speed based
on light reading Aperture Priority - you set aperture and camera
calculates and sets the shutter speed based on light reading
Shutter Priority - you set the shutter speed and camera calculates and selects aperture based on light reading
Fully Programmed - Camera selects both aperture and shutter speed based on light reading
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Lenses Lenses interchangeable on SLR cameras Lens bayonet - mounts to camera body Each manufacture’s lens mount is unique Lenses available from independent lens
manufactures and for several different lens mount Lenses provided by independent manufactures are
generally less expensive than camera’s own brand May not be as good optically or have same build
quality as cameras own brand lenses
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Standard Lenses (35mm)
50mm f1.250mm f1.8 50mm f1.4
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Wide Angle Lenses
15mm F 3.528mm F 2.8 20mm F 3.5
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Telephoto
85 mm F 2 85 mm F 1.4 300 mm F4.5
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Lens Features: Angle of View
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Angle of View for 35mm
Shorter focal length lenses have angle of view which gives steeper perspective
Longer focal length lenses have narrow angle of view which gives flatter perspective
50mm provides natural perspective for the 35mm format
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Advanced features
Autofocus Image stabilisation Intelligent recognition of faces and
scenes
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Autofocus (1) – Blurred image
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Autofocus (2) – sharp image
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Autofocus (3) The microprocessor in the camera looks at the strip of pixels
and looks at the difference in intensity among the adjacent pixels. If the scene is out of focus, adjacent pixels have very similar intensities. The microprocessor moves the lens, looks at the CCD's pixels again and sees if the difference in intensity between adjacent pixels improved or got worse. The microprocessor then searches for the point where there is maximum intensity difference between adjacent pixels -- that's the point of best focus. Look at the difference in the pixels in the two red boxes above: In the upper box, the difference in intensity between adjacent pixels is very slight, while in the bottom box it is much greater. That is what the microprocessor is looking for as it drives the lens back and forth.
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Autofocus (4) Passive autofocus must have light and image contrast in
order to do its job. The image needs to have some detail in it that provides contrast. If you try to take a picture of a blank wall or a large object of uniform color, the camera cannot compare adjacent pixels so it cannot focus.
There is no distance-to-subject limitation with passive autofocus like there is with the infrared beam of an active autofocus system. Passive autofocus also works fine through a window, since the system "sees" the subject through the window just like you do.
(Courtesy How Stuff Works)
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Image stabilisation
Canon’s newly developed Hybrid IS technology optimally compensates for angular camera shake (rotational) and shift camera shake (linear). Sudden changes in camera angle can cause significant blur in images taken during standard shooting, whereas blur caused by shift-based shaking, when a camera moves parallel to the subject, is more pronounced in macro and other close-up photography.
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IS: How is it done? The new Hybrid IS technology incorporates an angular velocity
sensor that detects the extent of angular camera shake which is found in all previous optical Image Stabilizer mechanisms, as well as a new acceleration sensor that determines the amount of shift-based camera shake.
Hybrid IS also employs a newly developed algorithm that combines the output of the two sensors and moves the lens elements to compensate for both types of movement. Hybrid IS dramatically enhances the effects of Image Stabilizer especially during macro shooting, which is difficult for conventional image stabilisation technologies.
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Intelligent recognition
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Equipment Taking pictures
Cameras (bodies) Lenses: fix focal and zoom lenses Lightmeters Flashguns Motordrives Gadgets (tripods, filters, bags, close-up equipment
Developing pictures Darkroom ( dry and wet equipment) Developing tanks, spools Enlargers ( lenses)
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References
B.Sc. (Hons) Multimedia Computing
Media Technologies
Digital Multimedia 3rd EditionChapman N. Chapman J. Wiley. 2004
http://www.nikon.com http://www.olympus..com http://www.pentax.com http://www.minolta.com http://www.canon.com