Diaphragm
Another name for the hole in the lens. These are the blades that can be adjusted to control the amount of light that travels through the lens and reaches the sensor.
Another name for the hole in the lens. These are the blades that can be adjusted to control the amount of light that travels through the lens and reaches the sensor.
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Developer
A combination of chemicals that, when applied to photographic film or prints, can convert or enhance an invisible picture, so rendering it visible. Fixer is what makes it permanent in the end.
A combination of chemicals that, when applied to photographic film or prints, can convert or enhance an invisible picture, so rendering it visible. Fixer is what makes it permanent in the end.
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Depth program
An exposure mode that is part of a program that allows the aperture and shutter speed to be selected automatically. This mode is used to get the greatest possible depth of focus while yet retaining a shutter speed that is fast enough to allow for hand-held photography. The varying subject distances that are measured by the multipoint autofocus technology of some cameras are also taken into account, and the focus is changed to suit the subject distance being photographed.
An exposure mode that is part of a program that allows the aperture and shutter speed to be selected automatically. This mode is used to get the greatest possible depth of focus while yet retaining a shutter speed that is fast enough to allow for hand-held photography. The varying subject distances that are measured by the multipoint autofocus technology of some cameras are also taken into account, and the focus is changed to suit the subject distance being photographed.
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Depth of field scale
A depth of field scale is a scale that may be found on the barrel of some lenses. This scale can be used to calculate the depth of field for a given aperture, and it can also be used to manually adjust the focus of the lens to increase or reduce the depth of field.
A depth of field scale is a scale that may be found on the barrel of some lenses. This scale can be used to calculate the depth of field for a given aperture, and it can also be used to manually adjust the focus of the lens to increase or reduce the depth of field.
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Depth of field preview
A function available on some digital single-lens reflex cameras that displays a picture in the viewfinder that corresponds to the aperture that will be used to expose the photograph. This function is typically implemented as a button. This provides a visual sense of the amount of depth of field that is present, as well as which sections of the final picture will be crisp and which parts will be blurry. This is important because the viewfinder typically only displays the image in the manner in which it would appear if the aperture was opened up to its widest possible setting.
A function available on some digital single-lens reflex cameras that displays a picture in the viewfinder that corresponds to the aperture that will be used to expose the photograph. This function is typically implemented as a button. This provides a visual sense of the amount of depth of field that is present, as well as which sections of the final picture will be crisp and which parts will be blurry. This is important because the viewfinder typically only displays the image in the manner in which it would appear if the aperture was opened up to its widest possible setting.
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Depth of field
A proportion that indicates how much of an image is in focus, measured from the point in the scene that is closest to the camera to the point in the scene that is farthest away from the camera and still appears sharp. The aperture that is employed, the distance at which the lens is focused, and the focal length of the lens are the three primary factors that determine the depth of field.
A proportion that indicates how much of an image is in focus, measured from the point in the scene that is closest to the camera to the point in the scene that is farthest away from the camera and still appears sharp. The aperture that is employed, the distance at which the lens is focused, and the focal length of the lens are the three primary factors that determine the depth of field.
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Decisive moment
The fraction of a second during which all of the elements of a photograph come together at the same time. Cartier-Bresson is credited with coining the term "decisive moment." He was the one who defined photography as "the simultaneous recognition, in a fraction of a second, of the significance of an event as well as of a precise organization of forms which give that event its proper expression." The term "decisive moment" has become synonymous with photography.
The fraction of a second during which all of the elements of a photograph come together at the same time. Cartier-Bresson is credited with coining the term "decisive moment." He was the one who defined photography as "the simultaneous recognition, in a fraction of a second, of the significance of an event as well as of a precise organization of forms which give that event its proper expression." The term "decisive moment" has become synonymous with photography.
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Darkroom
A light-tight room for processing and printing traditional photographs. Negatives are loaded into the processing tank in complete darkness, while a red/orange safe light can be used at the printing stage.
A light-tight room for processing and printing traditional photographs. Negatives are loaded into the processing tank in complete darkness, while a red/orange safe light can be used at the printing stage.
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Dark cloth
A sheet of material that is completely black and is mostly utilized in large-format photography. When composing and focussing a shot, this accessory conceals both the photographer's head and the camera, making it possible to see the rather dim image displayed on the ground-glass screen with greater clarity.
A sheet of material that is completely black and is mostly utilized in large-format photography. When composing and focussing a shot, this accessory conceals both the photographer's head and the camera, making it possible to see the rather dim image displayed on the ground-glass screen with greater clarity.
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CSC (Compact System Camera)
There is no mirror mechanism in these cameras; as a result, they are more compact and lighter than digital single-lens reflex cameras (DSLRs), but they nevertheless offer comparable controls, high-quality photographs, and interchangeable lenses. There may be an electronic viewfinder present, or there may be no viewfinder at all and simply the LCD screen. This depends on the model. CSCs are also known as mirrorless cameras because to their lack of a mirror.
There is no mirror mechanism in these cameras; as a result, they are more compact and lighter than digital single-lens reflex cameras (DSLRs), but they nevertheless offer comparable controls, high-quality photographs, and interchangeable lenses. There may be an electronic viewfinder present, or there may be no viewfinder at all and simply the LCD screen. This depends on the model. CSCs are also known as mirrorless cameras because to their lack of a mirror.
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Cross-processing
In film photography, this term refers to the process of processing color negative film in reversal film (E6) chemicals or color reversal film in negative film (C41) chemicals. Sometimes, this technique is referred to as "X-Pro." The ensuing variations in color gave the photos a one-of-a-kind appearance. The approach used to be particularly well-liked in the field of fashion photography. Increasing the contrast and making adjustments to the color channels in Photoshop can provide an appearance that is virtually identical.
In film photography, this term refers to the process of processing color negative film in reversal film (E6) chemicals or color reversal film in negative film (C41) chemicals. Sometimes, this technique is referred to as "X-Pro." The ensuing variations in color gave the photos a one-of-a-kind appearance. The approach used to be particularly well-liked in the field of fashion photography. Increasing the contrast and making adjustments to the color channels in Photoshop can provide an appearance that is virtually identical.
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Crop factor
Digital single-lens reflex cameras (DSLRs) use image sensors that come in a variety of sizes; the size of the sensor determines the field of view that can be captured by a given lens. When the sensor is smaller, the field of view becomes more restricted. The term "crop factor" refers to the process of changing the real focal length of a lens into its effective focal length. The crop factor for Micro Four Thirds cameras is 2x, but the crop factor for the most majority of digital single-lens reflex cameras (DX and APS-C) is either 1.5x or 1.6x. Full-frame digital single-lens reflex cameras do not require focal length conversion, hence their crop factor is always 1.
Digital single-lens reflex cameras (DSLRs) use image sensors that come in a variety of sizes; the size of the sensor determines the field of view that can be captured by a given lens. When the sensor is smaller, the field of view becomes more restricted. The term "crop factor" refers to the process of changing the real focal length of a lens into its effective focal length. The crop factor for Micro Four Thirds cameras is 2x, but the crop factor for the most majority of digital single-lens reflex cameras (DX and APS-C) is either 1.5x or 1.6x. Full-frame digital single-lens reflex cameras do not require focal length conversion, hence their crop factor is always 1.
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Converging verticals
This is a term that is used to describe the effect of parallel lines getting closer together, particularly the two sides of a building, or a section of a building, while filming from a low angle of view. This phenomenon takes place when the photographer tilts the camera either upwards or downwards in order to capture the full structure in the photograph.
This is a term that is used to describe the effect of parallel lines getting closer together, particularly the two sides of a building, or a section of a building, while filming from a low angle of view. This phenomenon takes place when the photographer tilts the camera either upwards or downwards in order to capture the full structure in the photograph.
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Contrast range
A measurement of the difference in brightness that exists between the very darkest sections of an image and the lightest areas of the same image. Check out the spectrum of brightness. Contre-jour
In French, literally ‘against the light’. Another name for backlighting.
A measurement of the difference in brightness that exists between the very darkest sections of an image and the lightest areas of the same image. Check out the spectrum of brightness. Contre-jour
In French, literally ‘against the light’. Another name for backlighting.
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Continuous lighting
In contrast to the quick burst of illumination provided by flash or strobe lighting, continuous lighting remains on throughout the duration of a photo shoot.
In contrast to the quick burst of illumination provided by flash or strobe lighting, continuous lighting remains on throughout the duration of a photo shoot.
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Continuous autofocus
This is an autofocus option that will keep adjusting the focus right up until the moment that the shutter button is actually pressed. When photographing moving subjects, such as those found in wildlife or sports/action photography, where it would be counterproductive to lock the focus distance as soon as it was initially determined, this feature proves to be extremely helpful.
This is an autofocus option that will keep adjusting the focus right up until the moment that the shutter button is actually pressed. When photographing moving subjects, such as those found in wildlife or sports/action photography, where it would be counterproductive to lock the focus distance as soon as it was initially determined, this feature proves to be extremely helpful.
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Contact print/sheet
Photographic contact prints are images that are created by placing one or more film negatives on a sheet of photographic paper and then exposing the paper to light. This process typically takes place under a sheet of glass. In a classic wet darkroom, the first step in the printing process of an image is typically the creation of a contact sheet.
Photographic contact prints are images that are created by placing one or more film negatives on a sheet of photographic paper and then exposing the paper to light. This process typically takes place under a sheet of glass. In a classic wet darkroom, the first step in the printing process of an image is typically the creation of a contact sheet.
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Compression
The process of making files, such as digital photographs, smaller so that they require less space to store and may be uploaded and downloaded more quickly. For further information, see both lossless and lossy compression.
The process of making files, such as digital photographs, smaller so that they require less space to store and may be uploaded and downloaded more quickly. For further information, see both lossless and lossy compression.
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Complementary colors
These are the color pairings that create the greatest eye-catching contrast; another name for them is "opposite colors," because the colors in each pair are diametrically opposed to one another. On the traditional color wheel, they are red and green, yellow and violet, and blue and orange; however, the CMYK and RGB color models use red and cyan, green and magenta, and blue and yellow respectively. The classic color wheel shows red and green, yellow and violet, and blue and orange.
These are the color pairings that create the greatest eye-catching contrast; another name for them is "opposite colors," because the colors in each pair are diametrically opposed to one another. On the traditional color wheel, they are red and green, yellow and violet, and blue and orange; however, the CMYK and RGB color models use red and cyan, green and magenta, and blue and yellow respectively. The classic color wheel shows red and green, yellow and violet, and blue and orange.
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Color temperature
Artificial (tungsten-filament) lights are warmer (more orange) than sunshine, which is warm near dawn, cools (more blue), then warms again at evening. Our eyes modify color temperature without us noticing, so color looks consistent. Digital cameras may neutralize colors using white balance. When it's wrong (or you utilize the improper camera setting), a color cast results.
Artificial (tungsten-filament) lights are warmer (more orange) than sunshine, which is warm near dawn, cools (more blue), then warms again at evening. Our eyes modify color temperature without us noticing, so color looks consistent. Digital cameras may neutralize colors using white balance. When it's wrong (or you utilize the improper camera setting), a color cast results.
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