åé¡äžèŠ§
1
is photographic apparatus used to expose sensitized film or plates to reflected light images formed by a lens
Usually has electronic refinements and
automatic features, but underneath all that is a basic design that includes a lightproof container with a hole at one end over which a lens is placed and a holder opposite to accommodate either a strip of light-sensitive
film, or a light-sensitive electronic chip.
It can also be considered as a light tight box with a means of forming the image, holding sensitized materials, and controlling the amount of light that will reach the film.
CAMERA
2
Are the most popular type for serious photography.
It is a type
of camera suited for police work due to its
interchangeability if the lens.
They could be either
digital or use 35mm film.
SLR (SINGLE LENS REFLEX) CAMERA
3
it is considered as the smallest and the simplest type of camera, can be either digital or film cameras and are light and easy to use.
This non-SLR camera does not support
interchangeable lenses and the view seen through the viewfinder is not exactly the same as what seen through the lens
have direct vision viewfinders that do not show exactly the same image that the lens sees
COMPACT OR POINT AND SHOOT CAMERA
4
A type of camera with dual lens.
One for focusing and other for
forming the image.
TWIN (DOUBLE) LENS REFLEX CAMERA
5
passes light onto a mirror, which then bounces
the image onto the ground glass
TOP LENS (VIEWING LENS)
6
is an identical focal length (though the aperture, which is always wide open, may be slightly different) and contains a leaf shutter.
BOTTOM LENS (TAKING LENS)
7
These cameras tend to be more expensive, and lenses tend to be large
It is considered the biggest and
expensive type of camera, used for movie making.
the image resolution
is higher with medium format than 35mm cameras.
MEDIUM FORMAT CAMERA (VIEW OR PRESS TYPE CAMERA)
8
Essential Components of a Camera
A means to accurately aim the camera and compose the picture;, An ability to focus precisely, A shutter to control the moment of exposure and how long light acts on the sensitive surface, An aperture to control image brightness and depth of field, A method of loading and removing film, without allowing unwanted light to affect, A meter to measure the light and indicate or set the exposure needed for each shot.
9
part of the camera that is very important because of its capability to exclude all the unwanted light that might expose the film.
LIGHT TIGHT BOX OR BODY
10
a glass, plastic, or crystal optical element
molded into a curved shape that can bend and focus rays of light;
Responsible for focusing the rays of light coming from the subject.
LENS
11
Holds the film firmly inside the camera
FILM HOLDER
12
Device used to control the amount of time
during which light is allowed to enter the camera and register on the film or image sensor;
serves as the barrier of the rays of light that will enter and affect the film inside the camera Setting the shutter at certain speeds enables the camera to determine the length of time the film is exposed.
SHUTTER
13
Is that part of the camera
which regulates the time exposure of the film thus, affecting the amount of light reaching the sensitized material.
It is usually expressed in a fraction of a second.
SHUTTER SPEED CONTROL
14
Enumerate the fraction per second of Shutter Speed Control
1/1 1/2 1/4 1/8 1/15 1/30 1/60 1/125 1/250 1/500
15
Stands for a whole second and the others
are a fraction of a second.
NUMBER 1
16
Can stop the movement of the subject.
SHUTTER SPEED OF 125
17
an optical or electrical device used to
compose and frame a scene.
shows the entire scene coverage that can be recorded in the film inside the camera.
also called a view system, a finder, or a viewing
screen.
VIEWFINDER
18
A mechanism for moving
film from one spool to another incrementally one frame at a time.
FILM ADVANCE AND LEVER
19
an opening (diaphragm) in a
light-blocking plate that allows light to strike the film or image sensor;
The ratio between the diameter and
focal length of the lens; the light gathering power of the lens.
the light gathering power of
the lens
Otherwise known as lens opening or relative
aperture and it is expressed in F-number
LENS APERTURE
20
Enumerate F Number
f 1.4 f 2 f 2.8 f 4 f 5.6 f 8 f 11 f 16 f 22 f 32
21
The sharpness clearness of the objects being photographed will depend upon the focusing system of the camera.
FOCUSING MECHANISM
22
3 Types of Focusing Control
A. SPLIT IMAGES - OUT OF FOCUS/SHARP FOCUS , B. MICROPRISM, C. GROUND SCREEN
23
Either Coincidence or Split Image
RANGE FINDER
24
otherwise known as superimposed image
focusing.
In this type of focusing a single object will appear double once the object is not in focus, but moving the focusing adjustment this double image will coincide
or superimposed to form a single object
COINCIDENCE
25
focusing on the other hand will show an
image in split or two parts once the object in not in focus once the two parts of the image has been united then the object is already focused.
SPLIT IMAGE
26
This is observed from the viewing
system of the camera, once the object is not in focused the object will be viewed to be blurred and will turn sharp and clear once adjusted.
GROUND GLASS
27
Estimating the distance of the object and
adjusting the camera control based on his estimation do this.
SCALE BED
28
It is the image-forming device of the lens that
actually has a greater effect on the quality of the image to be formed.
A medium or system which converge or diverge light rays passing through it to form an image.
CAMERA LENS
29
first to introduce the use of lens
in the camera.
DANIEL BARBARO
30
It is a lens with a focal length between
35mm to 50mm. The normal lens aims to capture a shot in a way that is most similar to how we see the world.
has a focal length that is roughly equivalent
to the diagonal of the light sensitive, image-recording area within the camera.
They usually have wide maximum apertures, making them useful in low-light situations.
STANDARD/NORMAL LENS
31
These lenses can be rectilinear (straight
lines are preserved) or fisheye (showing extreme barrel distortion).
has a focal length shorter
than the diagonal of the film frame or image sensor.
It provides a broader angle of view than a standard lens and is therefore ideal for photographing a group of people
WIDE ANGLE LENS
32
Has a focal length that is much greater than the diagonal of the film or image format with which it is used.
LONG FOCUS LENS
33
has a variable focal length.
It allows finetuning of subject framing by adjusting the focal length of the lens
ZOOM LENS
34
Uses a combination of glass elements and
mirrors that bounce the light up and down the lens barrel, manipulating the light rays to allow a long focal length to be contained within a physically short space.
The compact design reduces the bulk and weight associated with extreme long-focus lenses.
MIRROR LENS
35
Linearly corrected ultra-wide-angle lenses have a focal length ranging from around 21mm down to around 15mm.
ULTRA WIDE ANGLE ZOOM
36
is likely to be slower and heavier and
to show more image distortion than a wide-angle fixed focal length lens.
However, it has the advantage of being
able to select intermediate focal length settings.
WIDE ANGLE ZOOM
37
is also sometimes called a perspective
control lens.
It can be shifted off-center in relation to the film frame
SHIFT LENS
38
are designed to render a subject with 1:1
or higher magnification for very close focusing distances.
They are useful in taking close-ups of small subjects or isolating details of larger subjects because they allow the camera to focus extremely close to a subject to record a
detailed image.
MACRO LENS
39
has a focal length longer than the
diagonal of the film frame or image sensor.
make a subject appear larger on film than a normal lens at the same camera-to-subiect distance.
They also have a shallower depth of field than wide-angle lenses.
They are usually used by sports
photographers who frequently use a monopod for support and maneuverability.
TELEPHOTO LENS
40
200m ranging from 75-300mm encompasses about six fixed focal length lenses.
This type of zoom is popular with sports
and wildlife photographers.
It is also useful for portraits
and can be used to photograph architectural and landscape details.
TELEPHOTO ZOOM
41
characterized by the fact that it is thicker in the middle than the edge and forms a real image on the opposite side of the lens.
It has a positive focal length and bends the rays together, which makes it a converging lens.
POSITIVE LENS AS CONVEX LENS
42
characterized by the fact that it is thinner in the middle than the edge
and forms a virtual image on the same side of the lens.
It does not require focusing, as everything will be sharp, upright and clear, no matter how close or far away the
object.
It is also known as a diverging lens because of its power to diverge rays of light that passes through it.
NEGATIVE LENS (CONCAVE LENS)
43
lens corrected for chromatic aberration
ACHROMATIC OR APOCHROMATIC
44
Corrected for spherical aberration
ASPHERICAL LENS
45
lens corrected for astigmatism
ANAGMATISM OR ANAGTIGMATIC
46
lens corrected for astigmatism but with
higher correction to color
a super corrected lens for astigmatism
PROCESS
47
lens corrected for distortion;
A combination of two achromatic lenses with almost the same focal length
RAPID RECTILINEAR
48
is an inability of the lens to focus all colors in the same plane.
It is a lens defect which has trouble bringing all the different wavelengths of visible light into focus at the same point on the film.
This is the most difficult lens aberrations to
correct.
CHROMATIC ABERRATION
49
a lens defect wherein the photographic rays passing through the edges refract more sharply than those passing through the central part
of the lens.
They come to focus on the edges than
at the central rays.
SPHERICAL ABERRATION
50
the inability of the lens to focus in both horizontal and vertical plane at the same time;
or the inability of the lens to focus on both lines running indifferent direction (
ASTIGMATISM
51
outer parts of the image produced
by the lens will be magnified either less or more than the outer image
DISTORTION
52
there are straight lines near the edges of the frame bow toward the center of the frame.
The curving is inward.
PINCUSHION DISTORTION
53
straight lines near the edges of the of the frame bow outward from the center.
BARREL DISTORTION
54
This is known as lateral aberration.
It is concerned with rays entering the lens obliquely.
It is a lens defect that produces a blurred comet-like image.
COMA
55
the image formed by lens
comes to a sharper focus on a curved surface than on a flat surface.
CURVATURE OF FIELD
56
the inability of the lens to produce images sizes of object with different color.
CHROMATIC DIFFERENCE OF MAGNIFICATION
57
A stand consisting of three legs and a
mounting head for a camera;
Used to support and stabilize the camera
TRIPOD
58
a cable with a button or plunger
attached to a camera to prevent accidental movement and eliminate camera shake
CABLE RELEASE
59
an artificial light source synchronized with the opening and closing of the shutter to emit a brief but very bright burst of illumination to a scene
FLASH UNIT
60
a device used in determining the intensity of light that strikes the subjects and affects the film
LIGHT METER
61
a tube inserted between the lens
and camera body to provide increased magnification for macrophotography
Used in photographing minute objects.
EXTENSION TUBE
62
a piece of colored glass, gelatin, plastic, or other material that attaches to or over the camera or enlarger lens to selectively absorb (or otherwise alter) the light passing through it;
Used to enhance color or contrast,
remove reflections, reduce haze, soften focus, or produce a variety of special effects.
FILTER
63
which are intended to manipulate the way film reacts to subject colors, and the special effects filters which are intended to give special effect to pictures.
NON SPECIAL EFFECT FILTER
64
which are intended to give special effect to pictures.
SPECIAL EFFECT FILTER
65
Adjusts the tonal differences of an image
CONTRAST FILTER
66
colored filter used in black & white
image capture to ensure that tones are reproduced with the same relative brightness as perceived by the human eye.
CORRECTION FILTER
67
used to filter out ultraviolet (UV)
radiation, which can cause a bluish fog and loss of detail in distant objects;
Also used to protect the front lens
element from dust, moisture and scratches.
HAZE FILTER
68
A graduated filter designed to darken the
sky while leaving the foreground exposure unaltered.
SKY FILTER
69
gray filter used over light sources or camera lenses to reduce specular reflections on certain surfaces;
Also increases saturation of colors,
especially in landscapes.
POLARIZING FILTER
70
Allow only that particular primary
color to bass through - that is, red allows red to pass through, blue allows blue, and green allows green.
PRIMARY COLOR FILTERS
71
work in the same way. Yellow is a mixture of red and green, so yellow filter allows only those two colors to pass through, and so on.
COMPLEMENTARY COLOR FILTER
72
A device used to hold the camera firmly
so as to prevent vibration or movement
CAMERA GRIP
73
A plastic, metal, or rubber device
that attaches to the front of a lens to shield it from extraneous light
LENS HOOD
74
Yellow and magenta = red, Cyan and magenta = blue, Cyan and yellow = green, Red and green = yellow, Blue and red = magenta, Blue and green = cyan
75
Usually caused by body movement
including the beating of the heart
VIBRATION
76
Caused by the improper holding of the camera.
ACTUAL CAMERA MOVEMENT
CLJ EVIDENCE
CLJ EVIDENCE
#100 · 31å · 4ã¶æåCLJ EVIDENCE
CLJ EVIDENCE
31å ⢠4ã¶æåCLJ PART 2
CLJ PART 2
#100 · 9å · 4ã¶æåCLJ PART 2
CLJ PART 2
9å ⢠4ã¶æåCRIM 105 IDENTIFICATION
CRIM 105 IDENTIFICATION
#100 · 24å · 4ã¶æåCRIM 105 IDENTIFICATION
CRIM 105 IDENTIFICATION
24å ⢠4ã¶æåCRIM 105 MULTIPLE CHOICE
CRIM 105 MULTIPLE CHOICE
#100 · 25å · 4ã¶æåCRIM 105 MULTIPLE CHOICE
CRIM 105 MULTIPLE CHOICE
25å ⢠4ã¶æåFRSC 106 WEEK 1 MARCELINE
FRSC 106 WEEK 1 MARCELINE
#100 · 20å · 4ã¶æåFRSC 106 WEEK 1 MARCELINE
FRSC 106 WEEK 1 MARCELINE
20å ⢠4ã¶æåFRSC 106 BALLISTICS
FRSC 106 BALLISTICS
#100 · 24å · 4ã¶æåFRSC 106 BALLISTICS
FRSC 106 BALLISTICS
24å ⢠4ã¶æåFRSC 104 WEEK 1-3
FRSC 104 WEEK 1-3
#100 · 38å · 4ã¶æåFRSC 104 WEEK 1-3
FRSC 104 WEEK 1-3
38å ⢠4ã¶æåFRSC 104 WEEK 4&5
FRSC 104 WEEK 4&5
#100 · 25å · 4ã¶æåFRSC 104 WEEK 4&5
FRSC 104 WEEK 4&5
25å ⢠4ã¶æåLEA 103
LEA 103
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LEA 103
50å ⢠1幎åIDENTIFICATION QUIZ
IDENTIFICATION QUIZ
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IDENTIFICATION QUIZ
13å ⢠6ã¶æåCDI 104 BERTILLO (WEEK 1&2)
CDI 104 BERTILLO (WEEK 1&2)
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CDI 104 BERTILLO (WEEK 1&2)
26å ⢠4ã¶æåCDI 104 BERTILLO (WEEK 3)
CDI 104 BERTILLO (WEEK 3)
#100 · 29å · 4ã¶æåCDI 104 BERTILLO (WEEK 3)
CDI 104 BERTILLO (WEEK 3)
29å ⢠4ã¶æåFORENSIC 101
FORENSIC 101
#100 · 42å · 1幎åFORENSIC 101
FORENSIC 101
42å ⢠1幎åFORENSIC 101 PART II
FORENSIC 101 PART II
#100 · 40å · 1幎åFORENSIC 101 PART II
FORENSIC 101 PART II
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9å ⢠5ã¶æåCRIM 103 INTRODUCTION TO HUMAN BEHAVIOR
CRIM 103 INTRODUCTION TO HUMAN BEHAVIOR
#100 · 90å · 1幎åCRIM 103 INTRODUCTION TO HUMAN BEHAVIOR
CRIM 103 INTRODUCTION TO HUMAN BEHAVIOR
90å ⢠1幎åCDI 108 PRELIM
CDI 108 PRELIM
#100 · 46å · 4ã¶æåCDI 108 PRELIM
CDI 108 PRELIM
46å ⢠4ã¶æåCRIM 103 PART II
CRIM 103 PART II
#100 · 21å · 1幎åCRIM 103 PART II
CRIM 103 PART II
21å ⢠1幎åCRIM 105 ðŸ WEEK 2&3
CRIM 105 ðŸ WEEK 2&3
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CRIM 105 ðŸ WEEK 2&3
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CRIM 103 PART 3
#100 · 29å · 1幎åCRIM 103 PART 3
CRIM 103 PART 3
29å ⢠1幎ååé¡äžèŠ§
1
is photographic apparatus used to expose sensitized film or plates to reflected light images formed by a lens
Usually has electronic refinements and
automatic features, but underneath all that is a basic design that includes a lightproof container with a hole at one end over which a lens is placed and a holder opposite to accommodate either a strip of light-sensitive
film, or a light-sensitive electronic chip.
It can also be considered as a light tight box with a means of forming the image, holding sensitized materials, and controlling the amount of light that will reach the film.
CAMERA
2
Are the most popular type for serious photography.
It is a type
of camera suited for police work due to its
interchangeability if the lens.
They could be either
digital or use 35mm film.
SLR (SINGLE LENS REFLEX) CAMERA
3
it is considered as the smallest and the simplest type of camera, can be either digital or film cameras and are light and easy to use.
This non-SLR camera does not support
interchangeable lenses and the view seen through the viewfinder is not exactly the same as what seen through the lens
have direct vision viewfinders that do not show exactly the same image that the lens sees
COMPACT OR POINT AND SHOOT CAMERA
4
A type of camera with dual lens.
One for focusing and other for
forming the image.
TWIN (DOUBLE) LENS REFLEX CAMERA
5
passes light onto a mirror, which then bounces
the image onto the ground glass
TOP LENS (VIEWING LENS)
6
is an identical focal length (though the aperture, which is always wide open, may be slightly different) and contains a leaf shutter.
BOTTOM LENS (TAKING LENS)
7
These cameras tend to be more expensive, and lenses tend to be large
It is considered the biggest and
expensive type of camera, used for movie making.
the image resolution
is higher with medium format than 35mm cameras.
MEDIUM FORMAT CAMERA (VIEW OR PRESS TYPE CAMERA)
8
Essential Components of a Camera
A means to accurately aim the camera and compose the picture;, An ability to focus precisely, A shutter to control the moment of exposure and how long light acts on the sensitive surface, An aperture to control image brightness and depth of field, A method of loading and removing film, without allowing unwanted light to affect, A meter to measure the light and indicate or set the exposure needed for each shot.
9
part of the camera that is very important because of its capability to exclude all the unwanted light that might expose the film.
LIGHT TIGHT BOX OR BODY
10
a glass, plastic, or crystal optical element
molded into a curved shape that can bend and focus rays of light;
Responsible for focusing the rays of light coming from the subject.
LENS
11
Holds the film firmly inside the camera
FILM HOLDER
12
Device used to control the amount of time
during which light is allowed to enter the camera and register on the film or image sensor;
serves as the barrier of the rays of light that will enter and affect the film inside the camera Setting the shutter at certain speeds enables the camera to determine the length of time the film is exposed.
SHUTTER
13
Is that part of the camera
which regulates the time exposure of the film thus, affecting the amount of light reaching the sensitized material.
It is usually expressed in a fraction of a second.
SHUTTER SPEED CONTROL
14
Enumerate the fraction per second of Shutter Speed Control
1/1 1/2 1/4 1/8 1/15 1/30 1/60 1/125 1/250 1/500
15
Stands for a whole second and the others
are a fraction of a second.
NUMBER 1
16
Can stop the movement of the subject.
SHUTTER SPEED OF 125
17
an optical or electrical device used to
compose and frame a scene.
shows the entire scene coverage that can be recorded in the film inside the camera.
also called a view system, a finder, or a viewing
screen.
VIEWFINDER
18
A mechanism for moving
film from one spool to another incrementally one frame at a time.
FILM ADVANCE AND LEVER
19
an opening (diaphragm) in a
light-blocking plate that allows light to strike the film or image sensor;
The ratio between the diameter and
focal length of the lens; the light gathering power of the lens.
the light gathering power of
the lens
Otherwise known as lens opening or relative
aperture and it is expressed in F-number
LENS APERTURE
20
Enumerate F Number
f 1.4 f 2 f 2.8 f 4 f 5.6 f 8 f 11 f 16 f 22 f 32
21
The sharpness clearness of the objects being photographed will depend upon the focusing system of the camera.
FOCUSING MECHANISM
22
3 Types of Focusing Control
A. SPLIT IMAGES - OUT OF FOCUS/SHARP FOCUS , B. MICROPRISM, C. GROUND SCREEN
23
Either Coincidence or Split Image
RANGE FINDER
24
otherwise known as superimposed image
focusing.
In this type of focusing a single object will appear double once the object is not in focus, but moving the focusing adjustment this double image will coincide
or superimposed to form a single object
COINCIDENCE
25
focusing on the other hand will show an
image in split or two parts once the object in not in focus once the two parts of the image has been united then the object is already focused.
SPLIT IMAGE
26
This is observed from the viewing
system of the camera, once the object is not in focused the object will be viewed to be blurred and will turn sharp and clear once adjusted.
GROUND GLASS
27
Estimating the distance of the object and
adjusting the camera control based on his estimation do this.
SCALE BED
28
It is the image-forming device of the lens that
actually has a greater effect on the quality of the image to be formed.
A medium or system which converge or diverge light rays passing through it to form an image.
CAMERA LENS
29
first to introduce the use of lens
in the camera.
DANIEL BARBARO
30
It is a lens with a focal length between
35mm to 50mm. The normal lens aims to capture a shot in a way that is most similar to how we see the world.
has a focal length that is roughly equivalent
to the diagonal of the light sensitive, image-recording area within the camera.
They usually have wide maximum apertures, making them useful in low-light situations.
STANDARD/NORMAL LENS
31
These lenses can be rectilinear (straight
lines are preserved) or fisheye (showing extreme barrel distortion).
has a focal length shorter
than the diagonal of the film frame or image sensor.
It provides a broader angle of view than a standard lens and is therefore ideal for photographing a group of people
WIDE ANGLE LENS
32
Has a focal length that is much greater than the diagonal of the film or image format with which it is used.
LONG FOCUS LENS
33
has a variable focal length.
It allows finetuning of subject framing by adjusting the focal length of the lens
ZOOM LENS
34
Uses a combination of glass elements and
mirrors that bounce the light up and down the lens barrel, manipulating the light rays to allow a long focal length to be contained within a physically short space.
The compact design reduces the bulk and weight associated with extreme long-focus lenses.
MIRROR LENS
35
Linearly corrected ultra-wide-angle lenses have a focal length ranging from around 21mm down to around 15mm.
ULTRA WIDE ANGLE ZOOM
36
is likely to be slower and heavier and
to show more image distortion than a wide-angle fixed focal length lens.
However, it has the advantage of being
able to select intermediate focal length settings.
WIDE ANGLE ZOOM
37
is also sometimes called a perspective
control lens.
It can be shifted off-center in relation to the film frame
SHIFT LENS
38
are designed to render a subject with 1:1
or higher magnification for very close focusing distances.
They are useful in taking close-ups of small subjects or isolating details of larger subjects because they allow the camera to focus extremely close to a subject to record a
detailed image.
MACRO LENS
39
has a focal length longer than the
diagonal of the film frame or image sensor.
make a subject appear larger on film than a normal lens at the same camera-to-subiect distance.
They also have a shallower depth of field than wide-angle lenses.
They are usually used by sports
photographers who frequently use a monopod for support and maneuverability.
TELEPHOTO LENS
40
200m ranging from 75-300mm encompasses about six fixed focal length lenses.
This type of zoom is popular with sports
and wildlife photographers.
It is also useful for portraits
and can be used to photograph architectural and landscape details.
TELEPHOTO ZOOM
41
characterized by the fact that it is thicker in the middle than the edge and forms a real image on the opposite side of the lens.
It has a positive focal length and bends the rays together, which makes it a converging lens.
POSITIVE LENS AS CONVEX LENS
42
characterized by the fact that it is thinner in the middle than the edge
and forms a virtual image on the same side of the lens.
It does not require focusing, as everything will be sharp, upright and clear, no matter how close or far away the
object.
It is also known as a diverging lens because of its power to diverge rays of light that passes through it.
NEGATIVE LENS (CONCAVE LENS)
43
lens corrected for chromatic aberration
ACHROMATIC OR APOCHROMATIC
44
Corrected for spherical aberration
ASPHERICAL LENS
45
lens corrected for astigmatism
ANAGMATISM OR ANAGTIGMATIC
46
lens corrected for astigmatism but with
higher correction to color
a super corrected lens for astigmatism
PROCESS
47
lens corrected for distortion;
A combination of two achromatic lenses with almost the same focal length
RAPID RECTILINEAR
48
is an inability of the lens to focus all colors in the same plane.
It is a lens defect which has trouble bringing all the different wavelengths of visible light into focus at the same point on the film.
This is the most difficult lens aberrations to
correct.
CHROMATIC ABERRATION
49
a lens defect wherein the photographic rays passing through the edges refract more sharply than those passing through the central part
of the lens.
They come to focus on the edges than
at the central rays.
SPHERICAL ABERRATION
50
the inability of the lens to focus in both horizontal and vertical plane at the same time;
or the inability of the lens to focus on both lines running indifferent direction (
ASTIGMATISM
51
outer parts of the image produced
by the lens will be magnified either less or more than the outer image
DISTORTION
52
there are straight lines near the edges of the frame bow toward the center of the frame.
The curving is inward.
PINCUSHION DISTORTION
53
straight lines near the edges of the of the frame bow outward from the center.
BARREL DISTORTION
54
This is known as lateral aberration.
It is concerned with rays entering the lens obliquely.
It is a lens defect that produces a blurred comet-like image.
COMA
55
the image formed by lens
comes to a sharper focus on a curved surface than on a flat surface.
CURVATURE OF FIELD
56
the inability of the lens to produce images sizes of object with different color.
CHROMATIC DIFFERENCE OF MAGNIFICATION
57
A stand consisting of three legs and a
mounting head for a camera;
Used to support and stabilize the camera
TRIPOD
58
a cable with a button or plunger
attached to a camera to prevent accidental movement and eliminate camera shake
CABLE RELEASE
59
an artificial light source synchronized with the opening and closing of the shutter to emit a brief but very bright burst of illumination to a scene
FLASH UNIT
60
a device used in determining the intensity of light that strikes the subjects and affects the film
LIGHT METER
61
a tube inserted between the lens
and camera body to provide increased magnification for macrophotography
Used in photographing minute objects.
EXTENSION TUBE
62
a piece of colored glass, gelatin, plastic, or other material that attaches to or over the camera or enlarger lens to selectively absorb (or otherwise alter) the light passing through it;
Used to enhance color or contrast,
remove reflections, reduce haze, soften focus, or produce a variety of special effects.
FILTER
63
which are intended to manipulate the way film reacts to subject colors, and the special effects filters which are intended to give special effect to pictures.
NON SPECIAL EFFECT FILTER
64
which are intended to give special effect to pictures.
SPECIAL EFFECT FILTER
65
Adjusts the tonal differences of an image
CONTRAST FILTER
66
colored filter used in black & white
image capture to ensure that tones are reproduced with the same relative brightness as perceived by the human eye.
CORRECTION FILTER
67
used to filter out ultraviolet (UV)
radiation, which can cause a bluish fog and loss of detail in distant objects;
Also used to protect the front lens
element from dust, moisture and scratches.
HAZE FILTER
68
A graduated filter designed to darken the
sky while leaving the foreground exposure unaltered.
SKY FILTER
69
gray filter used over light sources or camera lenses to reduce specular reflections on certain surfaces;
Also increases saturation of colors,
especially in landscapes.
POLARIZING FILTER
70
Allow only that particular primary
color to bass through - that is, red allows red to pass through, blue allows blue, and green allows green.
PRIMARY COLOR FILTERS
71
work in the same way. Yellow is a mixture of red and green, so yellow filter allows only those two colors to pass through, and so on.
COMPLEMENTARY COLOR FILTER
72
A device used to hold the camera firmly
so as to prevent vibration or movement
CAMERA GRIP
73
A plastic, metal, or rubber device
that attaches to the front of a lens to shield it from extraneous light
LENS HOOD
74
Yellow and magenta = red, Cyan and magenta = blue, Cyan and yellow = green, Red and green = yellow, Blue and red = magenta, Blue and green = cyan
75
Usually caused by body movement
including the beating of the heart
VIBRATION
76
Caused by the improper holding of the camera.
ACTUAL CAMERA MOVEMENT