Film that is supplied in individual sheets and is used in large-format cameras like as 5x4 and 10x8 equipment. This film is typically sold in boxes.

A traditional method of photography that involves the use of a chemical process that transforms the metallic silver in a black-and-white shot into silver sulfide. It will have the effect of turning the various tones of gray into various shades of reddish-brown. The look can be easily reproduced in digital pictures, either in-camera or with the use of software like Photoshop.

A feature of some cameras that allows the photographer to set a delay between pressing the shutter button and the start of the exposure. The photographer has typically been able to incorporate themselves into the shot with the use of this technique. When taking a long exposure with the camera mounted on a monopod or tripod, you may also utilize it as a technique to minimize the vibration generated by pressing the camera shutter. This can be done by using the remote shutter release.

A more contemporary word for the genre of self-portraiture, which is enjoying a surge in popularity in this day and age of the smartphone camera.

A chemical treatment applied to a silver-based black-and-white print in a wet darkroom that changes some of the metallic silver to silver selenide. Depending on dilution and the type of printing paper, tones may range from red-brown to purple-brown. The appearance of the effect can now be simulated in post-capture software on a computer. Photoshop CS6 and CC includes selenium toning among
its range of toning presets.

The entire subject plane is in focus if the lens plane is inclined downward and the extended lines from the lens plane, the object plane, and the film plane all connect at the same location, according to Theodor Scheimpflug (1865–1911). When using tilt-shift lenses or tilt-and-swing movements on view cameras, this technique is put into use. Accordingly, if you're taking a landscape snap, you can tilt the lens forward until the plane of focus is parallel to the ground. As a result, even while shooting with the lens wide open, depth of field is greatly expanded.

The strength of a color or hue. An increase in saturation gives a more intense color.
Too much saturation, and the image will look unreal. An image with no saturation whatsoever will be black and white.

When printing black-and-white images in a classic wet darkroom, a lamp with a red/orange color temperature is utilized as the source of illumination. Because photographic paper is not sensitive to red or orange light, it can be used without any concerns during the printing stage.

An effect created in a wet darkroom in which an image is processed so that it is partially a positive image as it would normally appear and partially a negative image. It wasn't until the 1860s that it was first characterized, but Man Ray's work is what brought it to widespread attention (1890-1976). During the process of developing a print, his assistant, Lee Miller (1907-1977), inadvertently turned on a light. Although Ray loved the effect, he did not intentionally employ it in his work. He referred to it as "solarization." The Sabattier effect can be reproduced with relative ease in Photoshop, and it is recommended that it be applied to a monochrome photograph.

A photographic film wound on a spool and protected from light with paper backing.
The most commonly used type is 120 roll film. It’s used in cameras shooting 6x4.5, 6x6, 6x7 and 6x9 negative sizes, plus panoramic cameras.

One of the best-known compositional ‘rules’, in which an image is divided, horizontally and vertically, into three parts, using two equally spaced lines. Important elements of the picture are then placed on one or more of these lines, which creates a stronger and more visually appealing composition than simply centering the subject. The term has its origins in painting, and was first written down by the artist John Thomas Smith in 1797.

A flash lighting system that illuminates the subject evenly and eliminates shadows by employing a circular flash tube that is mounted to the front of the lens. Macro photography is one of the most common applications for ring flash; nevertheless, it is also occasionally employed in portrait photography and other types of photography. When employed for the purpose of portraiture, the bigger ring flashes that are available for use in studios produce catch lights in the shape of a doughnut.

The use of light that comes from behind or to the side of a subject to create a thin line of light around some or all of the subject's edge, so highlighting the subject's distinction from the background.

The process or method of gathering and presenting news. The term "photojournalism" comes from the field of photography and refers to the skill of delivering a news narrative using photographs. There are a lot of wedding photographers who offer images in a "reportage style." This merely denotes that the activities of the day are treated and recorded in the same manner as they would be if they were news events, albeit in a manner that is casual and inconspicuous.

A method of lighting employed in studio portraiture that was given its name after the Dutch painter Rembrandt van Rijn (1606-1669), who utilized it frequently. It is a technique that involves lighting one side of the face in such a way that it produces a triangle of light on the other cheek. It is occasionally necessary to employ a reflector in order to bounce light onto the side of the face that is under shadow.

An effect that is frequently brought on by the built-in flash of a camera. The subject's eyes appear to have a vibrant shade of red because the flash of light causes the retina to reflect back into view. Either in-camera or later, during post-processing, adjustments can be made to lessen or correct it.

When shooting with extremely long or extremely short exposures on film, the reciprocity law (see above) has the potential to be violated, which would result in the failure of reciprocity. In such circumstances, the film maker may recommend that further exposure be applied to the negative in order to get the desired effect. When photos are taken digitally, there is no risk of a failure of reciprocity occurring.

According to the reciprocity law, the density of a photographic image is directly proportional to the amount of light that enters the camera (the aperture setting), as well as the amount of time that the shutter is open (shutter speed). For instance, if the correct exposure for a subject is 1/125 of a second at f/4 and the aperture is increased by one stop to f/2.8, the shutter speed must be proportionally dropped by one stop to 1/60 of a second in order to maintain the same level of image quality, and vice versa.

One of the available file formats for digital single-lens reflex cameras (DSLRs), mirrorless cameras, and other high-end digital cameras. Data pertaining to an image is saved in a partially processed state and must be finished being processed on a computer. After the initial exposure, adjustments can be made to the exposure compensation, image contrast, color balance, and other variables using raw files. These adjustments are made while maintaining the highest possible image quality. Raw photographs also offer a larger tonal range than the alternative JPEG recording quality options. This is because raw images are uncompressed. Raw is neither an abbreviation, nor is it even a single file type like JPEG; the format varies from manufacturer to manufacturer, and sometimes even from camera to camera. JPEG is an example of a single file type.

A rangefinder camera is characterized by having a separate lens and viewfinder that are connected to one another by a rangefinder mechanism. When looking through the viewfinder, two distinct images are displayed, with one of the views being the one that shifts when the focus ring is turned. The image is clear and in focus when the two overlapping images are precisely aligned with one another. Leica cameras in the M line continue to use this lens.