A lens that has a shorter focal length than the "standard" lens (that is, the lens that delivers the field of view that is the most accurate representation of reality) for a certain format. In the 35mm format, lenses with focal lengths ranging from 21mm to 12mm are typically referred to as ultra wide-angle lenses, whereas lenses with focal lengths ranging from 35mm to 24mm are termed wide-angle lenses.

Digital camera technology that allows the photographer to adjust the color temperature of the subject being captured. This can be done automatically, with the system making an effort to adjust the hue in such a way that it appears natural to the naked eye. Manual white balance can be set from a reference source (such a piece of white card), to a certain Kelvin value, or to a lighting type on the majority of digital single-lens reflex cameras (DSLRs). Most DSLRs allow a wide selection of manual white balance settings (such as sunny daylight or tungsten bulb lighting).

The process of making the image's corners appear darker. Burning in the corners of an image digitally in Photoshop is one way to get this look, which is typically done on purpose to draw attention to a subject that is located in the middle of the picture. Toy cameras, such as the Holga, are also known to produce photographs with this effect rather frequently. Unintentional vignetting is typically caused by lens fall-off, which is something that may be remedied with the help of post-processing software.

A film camera with a huge sensor that captures images on sheets of film. Film sizes can range from 5x4 inches all the way up to 20x24 inches, depending on the design of the camera. Every view camera has a front standard that serves as a lens mount, and every view camera has a rear standard that serves as a film holder and ground glass screen for focusing purposes. The viewpoint, depth of field, and focus may all be altered by moving either standard in either direction and at varying angles. They are linked together by a bellows that is both extensible and flexible. The use of digital backs, as opposed to film, is an option for view cameras.

Optical filtering material that is capable of absorbing ultraviolet (UV) rays. In mountainous and maritime environments, it can be utilized to improve visibility and quality of the scenery. A lot of people use them to shield the lens in front of the camera.

A watertight case that was designed to prevent damage to specific cameras while underwater shooting while still enabling the user to access and use all of the camera's controls in the usual manner.

An exposure that is insufficient for the subject to maintain all of the shadow details, resulting in darker areas that are either completely or almost entirely without information. The image will appear darker as the amount of underexposure increases. It's possible that this was a deliberate choice made for artistic purposes.

In a photography studio, an umbrella is used to reflect and diffuse the light from a flash unit, resulting in a lighter that is more evenly distributed. The most frequent kinds are the white shoot-through umbrella, which is placed between the flash and the subject, and the black umbrella with a reflective silver or white underside, which reflects the flash light back onto the subject. Both of these umbrellas are used to illuminate the subject.

Abbreviation for "shutter priority.”

Warm-toned bulb lighting is characterized by a color temperature that falls anywhere in the range of 2,600 to 3,500 kelvin.

A method of determining the correct exposure for a photograph in which the lens of the camera is used to determine the amount of light entering the photograph.

A sub-discipline of photography that focuses on recording various aspects of a nation's culture, including its people, its scenery, and its traditions and practices.

Altering the color of a print or digital image that was originally in black and white. In the practice of conventional photography, black-and-white photos are often toned by transforming the metallic silver present in the print emulsion into a silver compound. This process is known as "toning." This is something that takes place in sepia and selenium toning. Metal-replacement toners are another type of toner that can be used in procedures such as platinum and gold toning. By applying the appropriate post-processing techniques, similar effects can be created in digital photographs.

Image processing method that narrows the range of tonal values included in an image with a large dynamic range in order to make the image appear more realistic whether displayed on a computer monitor or when printed.

Abbreviation for "photographer."

The practice of shooting still photographs of the same topic at regular intervals in order to generate moving video footage from the still photographs that were taken. Some time-lapse photographers will capture an event that takes place over a significant amount of time, such as the transformation of a butterfly from its chrysalis into an adult butterfly or the unfolding of the petals of a flower.

When lighting a portrait with this technique, a light source is positioned off to the side of the subject's face at an angle that is approximately 45 degrees from the center line of the subject's face. This creates a soft, flattering glow on the subject's features. It illuminates approximately three quarters of the face while casting a shadow along the side of the face that is perpendicular to the direction of the light source. The appearance of depth and dimension is imparted to the face by this shadow zone.

A word that is typically used to refer to any lens that has a long focus (in full-frame photography, a lens with a focal length of 85mm upwards). However, strictly speaking, a telephoto lens is a long-focus lens that has a shorter physical length than its focal length. This is because the lens's internal lens assembly allows for a shorter physical length than its focal length.

A secondary lens that is attached to a primary lens and the camera body in order to extend the original lens's ability to focus at a wider range of distances. When attached to a lens with a focal length of 200 millimeters, for instance, a 1.4 teleconverter will increase the focal length to 280 millimeters but will result in a one-stop reduction in the maximum aperture size.

Pictures of very small things or a scene shrunk down to tabletop size and arranged in various ways.