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The hyperfocal distance has a property called "consecutive depths of field", where a lens focused at an object whose distance from the lens is at the hyperfocal distance H will hold a depth of field from H/2 to infinity, if the lens is focused to H/2, the depth of field will be from H/3 to H; if the lens is then focused to H/3, the depth of ...
The modernist group favored sharp focus—f/64 being a very small aperture setting that gives great depth of field on large-format view cameras—contact printing, precisely exposed images of natural forms and found objects, and the use of the entire tonal range of a photograph. [18] [35] [55] [139] [140]
Walker had one good eye and only partial use of the other. He took many of his photos in low light with very slow film, a technique that resulted in landscapes with great depth of field. He called the afternoon hour at which he took most of his best photos Magic Hour. At this time of day, Walker took advantage of shadows and contrasting light ...
Ansel Adams: Half Dome, Apple Orchard, Yosemite trees with snow on branches, April 1933 Exhibition poster. Group f /64 or f.64 was a group founded by seven American 20th-century San Francisco Bay Area photographers who shared a common photographic style characterized by sharply focused and carefully framed images seen through a particularly Western (U.S.) viewpoint.
The first deep-field image to receive a great deal of public attention was the Hubble Deep Field, observed in 1995 with the WFPC2 camera on the Hubble Space Telescope. Other space telescopes that have obtained deep-field observations include the Chandra X-ray Observatory , the XMM-Newton Observatory, the Spitzer Space Telescope , and the James ...
Wider lenses tend to magnify distance between objects while allowing greater depth of field. Another result of using a wide-angle lens is a greater apparent perspective distortion when the camera is not aligned perpendicularly to the subject: parallel lines converge at the same rate as with a normal lens , but converge more due to the wider ...
Underwater images are magnified by 25 percent, and the dome will correct for that. The technique requires a small f/stop—f/16 or smaller—for great depth of field, plus a lens capable of close-focus; you always focus on the subject below the water line. You also have to balance the light.
Gregg Wesley Toland (May 29, 1904 – September 28, 1948) was an American cinematographer known for his innovative use of techniques such as deep focus, examples of which can be found in his work on Orson Welles' Citizen Kane (1941), William Wyler's The Best Years of Our Lives (1946), and John Ford's The Grapes of Wrath, and The Long Voyage Home (both, 1940).