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Kodak Ektachrome 200, shot in a Holga 120CFN A sprocket hole photograph. 35mm film inserted into medium format camera. Sprocket hole photography is a style of photography that exposes the full width of a perforated film such as 35mm film, creating a photograph punctuated by the "sprocket holes" (perforations) along the edges of the film.
Tilt–shift photography is the use of camera movements that change the orientation or position of the lens with respect to the film or image sensor on cameras. Sometimes the term is used when a shallow depth of field is simulated with digital post-processing; the name may derive from a perspective control lens (or tilt–shift lens) normally ...
In 1949, the Alpa Prisma-Reflex was introduced, sporting a pentaprism finder, which was a new feature in 35mm SLR cameras about this time; also seen a year before on the Rectaflex from Rome, Italy, and the Contax S from Zeiss Ikon in Dresden. Production of this first generation ALPA-Reflex and the ALPA Prisma-Reflex cameras continued smoothly ...
By similar techniques, special-purpose films can be made sensitive to the infrared (IR) region of the spectrum. [2] Nikon F100 analog camera during loading of 35mm film. In black-and-white photographic film, there is usually one layer of silver halide crystals.
35 mm equivalent focal lengths are calculated by multiplying the actual focal length of the lens by the crop factor of the sensor. Typical crop factors are 1.26× – 1.29× for Canon (1.35× for Sigma "H") APS-H format, 1.5× for Nikon APS-C ("DX") format (also used by Sony, Pentax, Fuji, Samsung and others), 1.6× for Canon APS-C format, 2× for Micro Four Thirds format, 2.7× for 1-inch ...
Today Lomography Redscale film is available in 35mm, 120, and 110 formats. [1] The technique is considered by some to be part of the lo-fi photography movement, along with use of toy cameras, pinhole cameras, instant cameras, and sprocket hole photography. The amount of over exposure determines the intensity of the red.
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The Kilfitt 36–82 mm/2.8 Zoomar lens introduced in 1959 was the first varifocal lens in regular production for still 35mm photography. [8] The first modern film zoom lens, the Pan-Cinor, was designed around 1950 by Roger Cuvillier, a French engineer working for SOM-Berthiot. It had an optical compensation zoom system.
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