- Angle of view
- Aperture
- Color temperature
- Depth of field
- Depth of focus
- Digital versus film photography
- Double exposure
- Exposure
- F-number
- Film format
- Film speed
- Perspective distortion
- Photographic printing
- Photographic processes
- Pinhole camera
- Red-eye effect
- Rule of thirds
- Science of photography
- Shutter speed
- Zone System
Angle of view
In photography, angle of view describes the angular extent of a given scene that is imaged by a camera. It parallels, and may be used interchangeably with, the more general visual term field of view.
It is important to distinguish the angle of view from the angle of coverage, which describes the angle of projection by the lens onto the focal plane. For most cameras, it may be assumed that the image circle produced by the lens is large enough to cover the film or sensor completely.[1] If the angle of view exceeds the angle of coverage, however, then vignetting will be present in the resulting photograph. For an example of this, see below.
Aperture
In optics, an aperture is a hole or an opening through which light is admitted. More specifically, the aperture of an optical system is the opening that determines the cone angle of a bundle of rays that come to a focus in the image plane. The aperture determines how collimated the admitted rays are, which is of great importance for the appearance at the image plane. If the admitted rays also pass through a lens, highly collimated rays (narrow aperture) will result in sharpness at the image plane, while uncollimated rays (wide aperture) will result in sharpness for rays with the right focal length only. This means that a wide aperture results in an image that is sharp around what the lens is focusing on and blurred otherwise. The aperture also determines how many of the incoming rays are actually admitted and thus how much light that reaches the image plane (the narrower the aperture, the darker the image).
An optical system typically has many openings, or structures that limit the ray bundles (ray bundles are also known as pencils of light). These structures may be the edge of a lens or mirror, or a ring or other fixture that holds an optical element in place, or may be a special element such as a diaphragm placed in the optical path to limit the light admitted by the system. In general, these structures are called stops, and the aperture stop is the stop that determines the ray cone angle, or equivalently the brightness, at an image point.
In some contexts, especially in photography and astronomy, aperture refers to the diameter of the aperture stop rather than the physical stop or the opening itself. For example, in a telescope the aperture stop is typically the edges of the objective lens or mirror (or of the mount that holds it). One then speaks of a telescope as having, for example, a 100 centimeter aperture. Note that the aperture stop is not necessarily the smallest stop in the system. Magnification and demagnification by lenses and other elements can cause a relatively large stop to be the aperture stop for the system.
Sometimes stops and diaphragms are called apertures, even when they are not the aperture stop of the system.
The word aperture is also used in other contexts to indicate a system which blocks off light outside a certain region. In astronomy for example, a photometric aperture around a star usually corresponds to a circular window around the image of a star within which the light intensity is summed.
Colour Temperature
Color temperature is a characteristic of visible light that has important applications in lighting, photography, videography, publishing, and other fields. The color temperature of a light source is determined by comparing its chromaticity with that of an ideal black-body radiator. The temperature (usually measured in kelvins (K)) at which the heated black-body radiator matches the color of the light source is that source's color temperature; for a black body source, it is directly related to Planck's law and Wien's displacement law.
Counterintuitively, higher color temperatures (5000 K or more) are "cool" (green–blue) colors, and lower color temperatures (2700–3000 K) "warm" (yellow–red) colors. Cool-colored light is considered better for visual tasks.[citation needed] Warm-colored light is preferred for living spaces because it is considered more flattering to skin tones and clothing.[citation needed] Color temperatures in the 2700–3600 K range are recommended for most general indoor and task lighting.
Depth of Field
n optics, particularly as it relates to film and photography, the depth of field (DOF) is the portion of a scene that appears sharp in the image. Although a lens can precisely focus at only one distance, the decrease in sharpness is gradual on either side of the focused distance, so that within the DOF, the unsharpness is imperceptible under normal viewing conditions.
For some images, such as landscapes, a large DOF may be appropriate, while for others, such as portraits, a small DOF may be more effective.
The DOF is determined by the subject distance (that is, the distance to the plane that is perfectly in focus), the lens focal length, and the lens f-number (relative aperture). Except at close-up distances, DOF is approximately determined by the subject magnification and the lens f-number. For a given f-number, increasing the magnification, either by moving closer to the subject or using a lens of greater focal length, decreases the DOF; decreasing magnification increases DOF. For a given subject magnification, increasing the f-number (decreasing the aperture diameter) increases the DOF; decreasing f-number decreases DOF.
When focus is set to the hyperfocal distance, the DOF extends from half the hyperfocal distance to infinity, and is the largest DOF possible for a given f-number.
The advent of digital technology in photography has provided additional means of controlling the extent of image sharpness; some methods allow DOF that would be impossible with traditional techniques, and some allow the DOF to be determined after the image is made.
Depth of focus
Depth of focus is a lens optics concept that measures the tolerance of placement of the image plane (the film plane in a camera) in relation to the lens. In a camera, depth of focus indicates the tolerance of the film's displacement within the camera, and is therefore sometimes referred to as "lens-to-film tolerance."
Digital Versus Film Photography
Digital versus film photography is a topic sometimes debated by photographers. Both digital and film, have advantages and drawbacks [1][2] and the different natures of these two technologies make the question of which is "better" meaningless without the qualifier "...for what purpose?" Strictly speaking, neither technology is better or worse. With that caveat in mind, this article attempts to compare some of the characteristics of both types of photography.
Double Exposure
In photography, a multiple exposure is an exposure in which the sensitivity to light is reduced and then increased at least once during the total exposure time.
Exposure
In photography, exposure is the total amount of light allowed to fall on the photographic medium (photographic film or image sensor) during the process of taking a photograph. Exposure is measured in lux seconds, and can be computed from exposure value (EV) and scene luminance over a specified area.
In photographic jargon, an exposure generally refers to a single shutter cycle. For example: a long exposure refers to a single, protracted shutter cycle to capture enough low-intensity light, whereas a multiple exposure involves a series of relatively brief shutter cycles; effectively layering a series of photographs in one image. For the same film speed, the accumulated photometric exposure (H) should be similar in both cases.
F-Number
In optics, the f-number (sometimes called focal ratio, f-ratio, or relative aperture) of an optical system expresses the diameter of the entrance pupil in terms of the focal length of the lens; in simpler terms, the f-number is the focal length divided by the "effective" aperture diameter. It is a dimensionless number that is a quantitative measure of lens speed, an important concept in photography.
Film Format
A film format is a technical definition of a set of standard characteristics regarding image capture on photographic film, for either stills or movies. It can also apply to projected film, either slides or movies. The primary characteristic of a film format is its size and shape.
In the case of motion picture film, the format may also include audio parameters (though often not). Other characteristics usually include the film gauge, pulldown method, lens anamorphosis (or lack thereof), and film gate or projector aperture dimensions, all of which need to be defined for photography as well as projection, as they may differ.
Film Speed
Film speed is the measure of a photographic film's sensitivity to light. Film with lower sensitivity (lower ISO/ASA speed) requires a longer exposure and is thus called a slow film, while stock with higher sensitivity (higher ISO/ASA speed) can shoot the same scene with a shorter exposure and is called a fast film.
Perspective Distortion
In photography and cinematography, perspective distortion describes one of two phenomena – the appearance of a part of the subject as abnormally large, relative to the rest of the scene, or an apparent lack of distance between objects in the foreground and those behind them.
Photographic Printing
Photographic printing is the process of producing a final image on paper for viewing, using chemically sensitized paper. The paper is exposed to a photographic negative, a positive transparency (or slide), or a digital image file projected using an enlarger or digital exposure unit such as a LightJet printer. Alternatively, the negative or transparency may be placed atop the paper and directly exposed, creating a contact print.
Photographic Processes
List of photographic processes
Color
* Chromogenic positive (Ektachrome)
E-4 process
E-6 process
* Chromogenic negative
C-41 process
RA-4 process
* Dye destruction
Cibachrome
Ilfochrome
* Kodachrome
K-12 process
K-14 process
* Dye transfer print
* Agfacolor
* Carbon print, 1862
* Lippmann process, 1891
* Autochrome Lumière, 1903
* Dufaycolor
* Anthotype
* Autochrome Lumière
Black and White (Monochrome)
A
* Abration tone
* Acetate film
* Albertype
* Albumen print, 1850
* Algraphy
* Ambrotype
* amphitype
* amylotype
* Anaglyph
* anthrakotype
* Archertype
* argentotype
* argyrotype
* Aristo paper
* aristotype
* aristo
* artotype
* atrephograph
* atrograph
* Aurotype
* Autotype
B
* Baryta coated paper
* Bayard process
* Bichromate process
* Bichromated gelatin
* Bichromated gum arabic
* Bichromatic albumen
* Bitumen of Judea
* Breyertype
* Bromoil Process, 1907
* burneum
C
* Calotype, 1841
* cameo
* Carbon print, 1855
* Carbro Print
* Carbro
* Casein pigment
* catalysotype
* Catalisotype
* Catatype
* Cellulose diacetate negative
* Cellulose nitrate negative
* Cellulose triacetate negative
* Ceroleine
* chalkotype
* Charbon Velour
* chromatype
* Chripotype
* Chrysotype, 1842
* Chrystollotype
* Cliché-verre
* Collodion paper
* Collodion process, 1851
* Collotype, 1870
* Color paper
* Contact print
* Contact sheet
* Contretype
* Copper Photogravure
* crystoleum
* Crystal photo 1850
* Cyanotype, 1842
D
* Daguerreotype, 1839
* Dallastype
* diaphanotype
* diazotype
* Dry collodion negative
* Dry collodion process
* Dry plate
* Dye coupler process
* Dye destruction process
* Dye diffusion transfer process
* Dye transfer print
E
* Eburneum
* ectograph
* ectographe
* electrotype
* energiatype
* Enamel photograph
* enamaline
F
* Feertype
* ferrotype
* Ferroprussiate paper
* fluorotype
G
* Gaslight paper
* Gaudinotype
* Gelatino-Bromide emulsions, 1875
* Gelatin-silver process
* Gem tintype
* Ghost photograph
* Gum Bichromate Print
* gum bichromate
* Gum Dichromate
* gum printing = *Photoglyphic
* Gum over platinum
H
* hallotype
* heliography
* Heliotype
* hellenotype
* Hillotype
* Hyalotype -1850
* Hydrotype
I
* Intermediate negative
* Internegative
* Iron salt process
* Ivorytype -1855
J
* Jews pith
K
* kallitype
L
* Lambertype
* Leggotype
* LeGray
* Levytype
* linograph
* linotype
M
* Mariotype
* Meisenbach process
* Melainotype
* melanograph
* metotype
N
* Negative
O
* Oil printing process
* opalotype
* ozobrome
* ozotype
* Ozobrom process
* ozotype
* Ozotype process
P
* Palladiotype, 1914
* Palladium Print
* Palladium processing
* Palladiotype
* pannotype
* Paper Negatives
* Paynetype
* Photocollography
* Photoglyphic
* Photogram
* Photogravure
* Photolithography
* Photosculpture
* Phototype
* Physautotype
* Pinatype process
* Platinotype, 1873
* Playertype
* Plumbeotype
S
* Salt print
* Salted paper
* Self-toning paper
* Sepia
* Sepia paper
* Shellac
* Siderotype
* Silver bromide
* Silver chloride collodion
* Simpsontype
* sphereotype
* Stanhope
* stannotype
* Sun printing
T
* Talbotype
* Tintype or Ferrotype
* tithnotype
* transferotype
U
* uranium print
V
* Van Dyke
* Vescicular film
W
* Wash-off Relief
* Waxed paper
* Wet collodion process
* Wet collodion plate
* Wet plate process
* Woodburytype
* Wothlytype
Pin Hole Camera
A pinhole camera is a very simple camera with no lens and a single very small aperture. Simply explained, it is a light-proof box with a small hole in one side. Light from a scene passes through this single point and projects an inverted image on the opposite side of the box. Cameras using small apertures, and the human eye in bright light both act like a pinhole camera.
The smaller the hole, the sharper the image, but the dimmer the projected image. Optimally, the size of the aperture should be 1/100 or less of the distance between it and the screen.
A pinhole camera's shutter is usually manually operated because of the lengthy exposure times, and consists of a flap of some light-proof material to cover and uncover the pinhole. Typical exposures range from 5 seconds to hours and sometimes days.
A common use of the pinhole camera is to capture the movement of the sun over a long period of time. This type of photography is called Solargraphy.
The image may be projected onto a translucent screen for real-time viewing (popular for observing solar eclipses; see also camera obscura), or can expose film or a charge coupled device (CCD). Pinhole cameras with CCDs are often used for surveillance because they are difficult to detect.
Red-Eye effect
The red-eye effect in photography is the common appearance of red pupils in color photographs of eyes. It occurs when using a photographic flash very close to the camera lens (as with most compact cameras), in ambient low light. Red-eye effect appears in the eyes of humans and animals that have no tapetum lucidum, hence no eyeshine,[citation needed] and rarely in animals that have a tapetum lucidum. The red-eye effect is a photographic effect, not seen in nature.
Rule of Thirds
The rule of thirds is a compositional rule of thumb in visual arts such as painting, photography and design. The rule states that an image should be imagined as divided into nine equal parts by two equally-spaced horizontal lines and two equally-spaced vertical lines, and that important compositional elements should be placed along these lines or their intersections. Proponents of the technique claim that aligning a subject with these points creates more tension, energy and interest in the composition than simply centering the subject would.
The photograph to the right demonstrates the application of the rule of thirds. The horizon sits at the horizontal line dividing the lower third of the photo from the upper two-thirds. The tree sits at the intersection of two lines, sometimes called a power point. Points of interest in the photo don't have to actually touch one of these lines to take advantage of the rule of thirds. For example, the brightest part of the sky near the horizon where the sun recently set does not fall directly on one of the lines, but does fall near the intersection of two of the lines, close enough to take advantage of the rule.
Science of photography
Science of photography refers to the use of science, such as chemistry and physics, in all aspects of photography. This applies to the camera, its lenses, physical operation of the camera, electronic camera internals, and the process of developing film in order to take and develop pictures properly.
Shutter Speed
In photography, shutter speed is a common term used to discuss exposure time, the effective length of time a shutter is open; the total exposure is proportional to this exposure time, or duration of light reaching the film or image sensor.
Zone System
The Zone System is a photographic technique for determining optimal film exposure and development, formulated by Ansel Adams and Fred Archer in 1941. The Zone System provides photographers with a systematic method of precisely defining the relationship between the way they visualize the photographic subject and the final results. Although it originated with black and white sheet film, the Zone System is also applicable to roll film, both black and white and color, negative and reversal, and to digital photography.
It is important to distinguish the angle of view from the angle of coverage, which describes the angle of projection by the lens onto the focal plane. For most cameras, it may be assumed that the image circle produced by the lens is large enough to cover the film or sensor completely.[1] If the angle of view exceeds the angle of coverage, however, then vignetting will be present in the resulting photograph. For an example of this, see below.
Aperture
In optics, an aperture is a hole or an opening through which light is admitted. More specifically, the aperture of an optical system is the opening that determines the cone angle of a bundle of rays that come to a focus in the image plane. The aperture determines how collimated the admitted rays are, which is of great importance for the appearance at the image plane. If the admitted rays also pass through a lens, highly collimated rays (narrow aperture) will result in sharpness at the image plane, while uncollimated rays (wide aperture) will result in sharpness for rays with the right focal length only. This means that a wide aperture results in an image that is sharp around what the lens is focusing on and blurred otherwise. The aperture also determines how many of the incoming rays are actually admitted and thus how much light that reaches the image plane (the narrower the aperture, the darker the image).
An optical system typically has many openings, or structures that limit the ray bundles (ray bundles are also known as pencils of light). These structures may be the edge of a lens or mirror, or a ring or other fixture that holds an optical element in place, or may be a special element such as a diaphragm placed in the optical path to limit the light admitted by the system. In general, these structures are called stops, and the aperture stop is the stop that determines the ray cone angle, or equivalently the brightness, at an image point.
In some contexts, especially in photography and astronomy, aperture refers to the diameter of the aperture stop rather than the physical stop or the opening itself. For example, in a telescope the aperture stop is typically the edges of the objective lens or mirror (or of the mount that holds it). One then speaks of a telescope as having, for example, a 100 centimeter aperture. Note that the aperture stop is not necessarily the smallest stop in the system. Magnification and demagnification by lenses and other elements can cause a relatively large stop to be the aperture stop for the system.
Sometimes stops and diaphragms are called apertures, even when they are not the aperture stop of the system.
The word aperture is also used in other contexts to indicate a system which blocks off light outside a certain region. In astronomy for example, a photometric aperture around a star usually corresponds to a circular window around the image of a star within which the light intensity is summed.
Colour Temperature
Color temperature is a characteristic of visible light that has important applications in lighting, photography, videography, publishing, and other fields. The color temperature of a light source is determined by comparing its chromaticity with that of an ideal black-body radiator. The temperature (usually measured in kelvins (K)) at which the heated black-body radiator matches the color of the light source is that source's color temperature; for a black body source, it is directly related to Planck's law and Wien's displacement law.
Counterintuitively, higher color temperatures (5000 K or more) are "cool" (green–blue) colors, and lower color temperatures (2700–3000 K) "warm" (yellow–red) colors. Cool-colored light is considered better for visual tasks.[citation needed] Warm-colored light is preferred for living spaces because it is considered more flattering to skin tones and clothing.[citation needed] Color temperatures in the 2700–3600 K range are recommended for most general indoor and task lighting.
Depth of Field
n optics, particularly as it relates to film and photography, the depth of field (DOF) is the portion of a scene that appears sharp in the image. Although a lens can precisely focus at only one distance, the decrease in sharpness is gradual on either side of the focused distance, so that within the DOF, the unsharpness is imperceptible under normal viewing conditions.
For some images, such as landscapes, a large DOF may be appropriate, while for others, such as portraits, a small DOF may be more effective.
The DOF is determined by the subject distance (that is, the distance to the plane that is perfectly in focus), the lens focal length, and the lens f-number (relative aperture). Except at close-up distances, DOF is approximately determined by the subject magnification and the lens f-number. For a given f-number, increasing the magnification, either by moving closer to the subject or using a lens of greater focal length, decreases the DOF; decreasing magnification increases DOF. For a given subject magnification, increasing the f-number (decreasing the aperture diameter) increases the DOF; decreasing f-number decreases DOF.
When focus is set to the hyperfocal distance, the DOF extends from half the hyperfocal distance to infinity, and is the largest DOF possible for a given f-number.
The advent of digital technology in photography has provided additional means of controlling the extent of image sharpness; some methods allow DOF that would be impossible with traditional techniques, and some allow the DOF to be determined after the image is made.
Depth of focus
Depth of focus is a lens optics concept that measures the tolerance of placement of the image plane (the film plane in a camera) in relation to the lens. In a camera, depth of focus indicates the tolerance of the film's displacement within the camera, and is therefore sometimes referred to as "lens-to-film tolerance."
Digital Versus Film Photography
Digital versus film photography is a topic sometimes debated by photographers. Both digital and film, have advantages and drawbacks [1][2] and the different natures of these two technologies make the question of which is "better" meaningless without the qualifier "...for what purpose?" Strictly speaking, neither technology is better or worse. With that caveat in mind, this article attempts to compare some of the characteristics of both types of photography.
Double Exposure
In photography, a multiple exposure is an exposure in which the sensitivity to light is reduced and then increased at least once during the total exposure time.
Exposure
In photography, exposure is the total amount of light allowed to fall on the photographic medium (photographic film or image sensor) during the process of taking a photograph. Exposure is measured in lux seconds, and can be computed from exposure value (EV) and scene luminance over a specified area.
In photographic jargon, an exposure generally refers to a single shutter cycle. For example: a long exposure refers to a single, protracted shutter cycle to capture enough low-intensity light, whereas a multiple exposure involves a series of relatively brief shutter cycles; effectively layering a series of photographs in one image. For the same film speed, the accumulated photometric exposure (H) should be similar in both cases.
F-Number
In optics, the f-number (sometimes called focal ratio, f-ratio, or relative aperture) of an optical system expresses the diameter of the entrance pupil in terms of the focal length of the lens; in simpler terms, the f-number is the focal length divided by the "effective" aperture diameter. It is a dimensionless number that is a quantitative measure of lens speed, an important concept in photography.
Film Format
A film format is a technical definition of a set of standard characteristics regarding image capture on photographic film, for either stills or movies. It can also apply to projected film, either slides or movies. The primary characteristic of a film format is its size and shape.
In the case of motion picture film, the format may also include audio parameters (though often not). Other characteristics usually include the film gauge, pulldown method, lens anamorphosis (or lack thereof), and film gate or projector aperture dimensions, all of which need to be defined for photography as well as projection, as they may differ.
Film Speed
Film speed is the measure of a photographic film's sensitivity to light. Film with lower sensitivity (lower ISO/ASA speed) requires a longer exposure and is thus called a slow film, while stock with higher sensitivity (higher ISO/ASA speed) can shoot the same scene with a shorter exposure and is called a fast film.
Perspective Distortion
In photography and cinematography, perspective distortion describes one of two phenomena – the appearance of a part of the subject as abnormally large, relative to the rest of the scene, or an apparent lack of distance between objects in the foreground and those behind them.
Photographic Printing
Photographic printing is the process of producing a final image on paper for viewing, using chemically sensitized paper. The paper is exposed to a photographic negative, a positive transparency (or slide), or a digital image file projected using an enlarger or digital exposure unit such as a LightJet printer. Alternatively, the negative or transparency may be placed atop the paper and directly exposed, creating a contact print.
Photographic Processes
List of photographic processes
Color
* Chromogenic positive (Ektachrome)
E-4 process
E-6 process
* Chromogenic negative
C-41 process
RA-4 process
* Dye destruction
Cibachrome
Ilfochrome
* Kodachrome
K-12 process
K-14 process
* Dye transfer print
* Agfacolor
* Carbon print, 1862
* Lippmann process, 1891
* Autochrome Lumière, 1903
* Dufaycolor
* Anthotype
* Autochrome Lumière
Black and White (Monochrome)
A
* Abration tone
* Acetate film
* Albertype
* Albumen print, 1850
* Algraphy
* Ambrotype
* amphitype
* amylotype
* Anaglyph
* anthrakotype
* Archertype
* argentotype
* argyrotype
* Aristo paper
* aristotype
* aristo
* artotype
* atrephograph
* atrograph
* Aurotype
* Autotype
B
* Baryta coated paper
* Bayard process
* Bichromate process
* Bichromated gelatin
* Bichromated gum arabic
* Bichromatic albumen
* Bitumen of Judea
* Breyertype
* Bromoil Process, 1907
* burneum
C
* Calotype, 1841
* cameo
* Carbon print, 1855
* Carbro Print
* Carbro
* Casein pigment
* catalysotype
* Catalisotype
* Catatype
* Cellulose diacetate negative
* Cellulose nitrate negative
* Cellulose triacetate negative
* Ceroleine
* chalkotype
* Charbon Velour
* chromatype
* Chripotype
* Chrysotype, 1842
* Chrystollotype
* Cliché-verre
* Collodion paper
* Collodion process, 1851
* Collotype, 1870
* Color paper
* Contact print
* Contact sheet
* Contretype
* Copper Photogravure
* crystoleum
* Crystal photo 1850
* Cyanotype, 1842
D
* Daguerreotype, 1839
* Dallastype
* diaphanotype
* diazotype
* Dry collodion negative
* Dry collodion process
* Dry plate
* Dye coupler process
* Dye destruction process
* Dye diffusion transfer process
* Dye transfer print
E
* Eburneum
* ectograph
* ectographe
* electrotype
* energiatype
* Enamel photograph
* enamaline
F
* Feertype
* ferrotype
* Ferroprussiate paper
* fluorotype
G
* Gaslight paper
* Gaudinotype
* Gelatino-Bromide emulsions, 1875
* Gelatin-silver process
* Gem tintype
* Ghost photograph
* Gum Bichromate Print
* gum bichromate
* Gum Dichromate
* gum printing = *Photoglyphic
* Gum over platinum
H
* hallotype
* heliography
* Heliotype
* hellenotype
* Hillotype
* Hyalotype -1850
* Hydrotype
I
* Intermediate negative
* Internegative
* Iron salt process
* Ivorytype -1855
J
* Jews pith
K
* kallitype
L
* Lambertype
* Leggotype
* LeGray
* Levytype
* linograph
* linotype
M
* Mariotype
* Meisenbach process
* Melainotype
* melanograph
* metotype
N
* Negative
O
* Oil printing process
* opalotype
* ozobrome
* ozotype
* Ozobrom process
* ozotype
* Ozotype process
P
* Palladiotype, 1914
* Palladium Print
* Palladium processing
* Palladiotype
* pannotype
* Paper Negatives
* Paynetype
* Photocollography
* Photoglyphic
* Photogram
* Photogravure
* Photolithography
* Photosculpture
* Phototype
* Physautotype
* Pinatype process
* Platinotype, 1873
* Playertype
* Plumbeotype
S
* Salt print
* Salted paper
* Self-toning paper
* Sepia
* Sepia paper
* Shellac
* Siderotype
* Silver bromide
* Silver chloride collodion
* Simpsontype
* sphereotype
* Stanhope
* stannotype
* Sun printing
T
* Talbotype
* Tintype or Ferrotype
* tithnotype
* transferotype
U
* uranium print
V
* Van Dyke
* Vescicular film
W
* Wash-off Relief
* Waxed paper
* Wet collodion process
* Wet collodion plate
* Wet plate process
* Woodburytype
* Wothlytype
Pin Hole Camera
A pinhole camera is a very simple camera with no lens and a single very small aperture. Simply explained, it is a light-proof box with a small hole in one side. Light from a scene passes through this single point and projects an inverted image on the opposite side of the box. Cameras using small apertures, and the human eye in bright light both act like a pinhole camera.
The smaller the hole, the sharper the image, but the dimmer the projected image. Optimally, the size of the aperture should be 1/100 or less of the distance between it and the screen.
A pinhole camera's shutter is usually manually operated because of the lengthy exposure times, and consists of a flap of some light-proof material to cover and uncover the pinhole. Typical exposures range from 5 seconds to hours and sometimes days.
A common use of the pinhole camera is to capture the movement of the sun over a long period of time. This type of photography is called Solargraphy.
The image may be projected onto a translucent screen for real-time viewing (popular for observing solar eclipses; see also camera obscura), or can expose film or a charge coupled device (CCD). Pinhole cameras with CCDs are often used for surveillance because they are difficult to detect.
Red-Eye effect
The red-eye effect in photography is the common appearance of red pupils in color photographs of eyes. It occurs when using a photographic flash very close to the camera lens (as with most compact cameras), in ambient low light. Red-eye effect appears in the eyes of humans and animals that have no tapetum lucidum, hence no eyeshine,[citation needed] and rarely in animals that have a tapetum lucidum. The red-eye effect is a photographic effect, not seen in nature.
Rule of Thirds
The rule of thirds is a compositional rule of thumb in visual arts such as painting, photography and design. The rule states that an image should be imagined as divided into nine equal parts by two equally-spaced horizontal lines and two equally-spaced vertical lines, and that important compositional elements should be placed along these lines or their intersections. Proponents of the technique claim that aligning a subject with these points creates more tension, energy and interest in the composition than simply centering the subject would.
The photograph to the right demonstrates the application of the rule of thirds. The horizon sits at the horizontal line dividing the lower third of the photo from the upper two-thirds. The tree sits at the intersection of two lines, sometimes called a power point. Points of interest in the photo don't have to actually touch one of these lines to take advantage of the rule of thirds. For example, the brightest part of the sky near the horizon where the sun recently set does not fall directly on one of the lines, but does fall near the intersection of two of the lines, close enough to take advantage of the rule.
Science of photography
Science of photography refers to the use of science, such as chemistry and physics, in all aspects of photography. This applies to the camera, its lenses, physical operation of the camera, electronic camera internals, and the process of developing film in order to take and develop pictures properly.
Shutter Speed
In photography, shutter speed is a common term used to discuss exposure time, the effective length of time a shutter is open; the total exposure is proportional to this exposure time, or duration of light reaching the film or image sensor.
Zone System
The Zone System is a photographic technique for determining optimal film exposure and development, formulated by Ansel Adams and Fred Archer in 1941. The Zone System provides photographers with a systematic method of precisely defining the relationship between the way they visualize the photographic subject and the final results. Although it originated with black and white sheet film, the Zone System is also applicable to roll film, both black and white and color, negative and reversal, and to digital photography.
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